2. Preparing ImagesPreparing and sizing images | 00:00 | Of all the sections in this training, this
section is probably the most important.
| | 00:05 | Not because it's going to show you how
the software works but because it's going
| | 00:08 | to explain the questions that I
get day after day in my e-mail
| | 00:11 | which is what size and why doesn't it look good.
| | 00:15 | So we're going to start by giving you
some rules to working with images.
| | 00:18 | I will explain in brief the differences
between video and computer images.
| | 00:22 | We will determine the correct image size to use
for both standard def video and high-def video
| | 00:29 | and then we will wrap up with
some cautionary notes
| | 00:31 | to make sure your images look as good as possible.
| | 00:33 | Then we'll be done with all the preamble,
important though it is, and we'll move
| | 00:37 | into Photoshop and show you how to prepare
your images inside Adobe Photoshop.
| | 00:42 | Let's start with some rules to working
with images, and here is the key point.
| | 00:46 | Computer images use square pixels and
video images use rectangular pixels.
| | 00:52 | When you're preparing your images
you must compensate for this.
| | 00:57 | All video images are always 72 dpi.
No, it's not that they're really 72 dpi,
| | 01:02 | it's that we don't care about the dpi.
| | 01:05 | It's the total number of pixels across by the
total number of pixels high. Sort of a convention.
| | 01:11 | We make all of our images 72 dpi so
we count pixels, not dots per inch.
| | 01:16 | Images that are used in video should
be bitmaps like PNGs or TIFFs or PSDs.
| | 01:21 | You want to avoid JPEG where possible
because there's way too much quality loss.
| | 01:25 | There's artifacting and blockiness
and colors tend to get kind of grungy.
| | 01:29 | Also video cannot use vector images.
You need to convert them to bitmap first,
| | 01:33 | so I can't take an Illustrator file and pull
it in or any other vector-based drawing.
| | 01:38 | It needs to be converted to a bitmap, which
is why Photoshop is so essential to video
| | 01:43 | because Photoshop is at its
core a bitmap image editor.
| | 01:48 | Also, don't zoom an image larger
than 100%, even though you want to,
| | 01:52 | even though you feel the strong need,
don't zoom your images larger than 100%.
| | 01:58 | Because bitmapped images lose
quality when they are enlarged.
| | 02:02 | So that means, that if you want to move around
inside an image so you can sort of zoom into it,
| | 02:07 | then that image needs to be
larger than full-screen.
| | 02:11 | Now, this is a weird concept
when all we're used to working with
| | 02:13 | is a video image, but with still images,
| | 02:16 | Ah!
| | 02:17 | The rules change and that's
what we're here to talk about.
| | 02:21 | We are used to creating images and working
with pictures on our computer and although
| | 02:25 | it looks like it's the same picture on a computer as
it does on the video screen, they are not the same.
| | 02:30 | They are different because a video image is
fixed in size. Whether you look at a video picture
| | 02:35 | on a 13 inch field monitor or a 60 inch plasma
display, the number of pixels across by the number
| | 02:42 | of pixels high does not change.
It's exactly the same.
| | 02:45 | All we're doing is we're making the pixels fatter.
On a computer if I've got a 13 inch monitor
| | 02:50 | or I've got a 30 inch monitor --
I dream of 30 inch monitors actually.
| | 02:56 | It's sad.
| | 02:57 | Anyway, if I put it on a 30-inch
monitor I'm going to see more.
| | 03:01 | But not true with a television set.
| | 03:03 | Scanning by the way, most video,
though not all is interlaced. That is
| | 03:07 | to say the lines are woven together and
there is a slight difference in time
| | 03:11 | between all the odd numbered lines
and all the even numbered lines.
| | 03:14 | With computer and film they are
progressive. All the lines are shot
| | 03:18 | at the same time. There is
none of this offset for time.
| | 03:21 | In video your white levels must
be equal to or less than 100%.
| | 03:27 | But with the computer and when you're shooting in
a digital camera world, your white levels can be
| | 03:32 | up to a 110%, which means that we've got
to tweak our White levels to get them
| | 03:37 | down into something which is broadcast safe.
| | 03:40 | Most video, I mean the extreme high-end
where you're spending $200,000 for a camera,
| | 03:44 | that changes, but for most videos that most
of us are working with we're shooting in 8
| | 03:48 | or 10 bit depth, and the computer
is a 12 bit depth.
| | 03:53 | The higher the bit depth, the more
accurately it can represent a color image.
| | 03:58 | Black and white looks find at 8 bits, but color to
look good requires a minimum of 10 and ideally 12.
| | 04:05 | The problem is video only goes 8 or 10 bit.
| | 04:08 | Again the higher the bit depth
the greater the color fidelity.
| | 04:12 | Another is gamma setting or mid-tone gray.
| | 04:14 | Depending upon your computer system, your
gamma setting can be anywhere from 1.8 to 2.2,
| | 04:20 | and the different gamma setting means
| | 04:22 | that the mid-tone gray shifts
which means the exposure shifts.
| | 04:25 | This is why if you create an image on
say Photoshop on the Mac and you pull it
| | 04:29 | into video it's going to look
light and thin and washed up.
| | 04:33 | You take a still frame on video, you pull it
| | 04:34 | into Photoshop, it looks dark
and muddy and uninteresting.
| | 04:38 | That's because Photoshop on the Mac and
video images have different mid-tone grays
| | 04:44 | and stuff doesn't look the same and we
need to compensate for that difference.
| | 04:48 | Video uses a color space in
digital video called YCbCr.
| | 04:53 | Apple uses the acronym YUV, which is an
analog standard and I'll probably use YUV,
| | 04:59 | even though I should say YCbCr,
but YUV is just so much easier.
| | 05:03 | The computer uses a color space called RGB.
| | 05:05 | They both give us colors.
The problem is they're not the same.
| | 05:09 | I have a greater range of colors
in RGB than I have in YCbCr.
| | 05:13 | I can create colors on my computer that I
can't broadcast or cablecast or move to a DVD.
| | 05:19 | Though I could post it to the web because the web
is played by computers, which means that we have
| | 05:24 | to work within a limited color
space of YCbCr when we're working
| | 05:28 | with creating images inside
Photoshop that have to go onto video.
| | 05:32 | Then there's color sampling. Now a
discussion of color sampling has been known
| | 05:35 | to cause strong people's eyes to
just glaze over. They tip over,
| | 05:38 | fall into a faint and they
don't recover for a week.
| | 05:40 | So we won't go there.
| | 05:41 | All I want to say is computer color
sampling is much more accurate.
| | 05:45 | Every pixel has its own color.
| | 05:47 | When we work with video, pixels are
grouped. Instead of having each pixel
| | 05:52 | with its own color groups of pixels,
a group of two, a group of four,
| | 05:55 | a group of two rows have the same color value.
| | 05:58 | Black and white value is always
accurate, but color value? That starts
| | 06:02 | to get a bit more murky, shall we say.
| | 06:05 | And then finally the pixel aspect ratio.
| | 06:08 | In video pixels are rectangular,
in the computer they are square.
| | 06:12 | Well, this alone would not be too
hard to deal with except for the fact
| | 06:15 | that different video formats
have different shaped rectangles.
| | 06:18 | Some are short and fat, some are tall and thin.
| | 06:21 | So we've got a flock of different image
sizes that we've got to cope with,
| | 06:25 | and that's with this next chart comes in.
| | 06:28 | This screen is probably the most important screen
| | 06:31 | of any one we're going to
show in this entire title.
| | 06:34 | It shows the standard-def image sizes that
you need to make your images look good
| | 06:38 | in all the different video
formats we have inside standard-def.
| | 06:41 | The problem is those stupid rectangular pixels.
| | 06:44 | For instance, if we're working with DV NTSC
creating a 4:3 image and you just want the image
| | 06:49 | to be full-screen with no black around the
edges, circles are circles, squares are squares,
| | 06:53 | and all your logos look like you're going
to stay employed for more than a week.
| | 06:57 | A full-screen image needs to be 720x540x72 pixels.
| | 07:02 | Same thing for 16:9 image. 853x480x72, and the rest
| | 07:08 | of these numbers I won't read.
You can just write them down,
| | 07:10 | but write them down because you're
going to find them to be very,
| | 07:13 | very helpful as you start to
prepare your still images.
| | 07:16 | What about this other column here, 2.5x movement?
| | 07:20 | So you remember -- it seems like a lifetime ago --
| | 07:22 | I said that an image only
looks good at 100% or smaller.
| | 07:26 | What happens if you want to
pan around inside the image?
| | 07:29 | Well, panning around inside the image means
that the image can't be bigger than 100%,
| | 07:34 | which means we have to make the
image bigger than full-screen.
| | 07:38 | So that's what that column is.
| | 07:39 | If you want to zoom into an image and
then pan around from the lower left corner
| | 07:43 | to the upper right corner then make the image 1800 pixels
by 1350 pixels by 72 pixels, and now you can move
| | 07:51 | around inside the image and explore it.
| | 07:53 | So what this table of numbers gives you is
the center column is full-screen, no movement,
| | 07:59 | and the right-hand column gives you
full-screen and movement, the ability to move
| | 08:03 | around pan and zoom in and zoom out.
| | 08:05 | Remember keep your image at 100% size or less.
| | 08:09 | By the way Apple uses a different calculation
for DVDs than it does for Final Cut.
| | 08:15 | Final Cut uses one set of calculations
and DVD Studio Pro uses the second.
| | 08:18 | So these bottom two lines are, if you're creating
full-screen slides, full-screen backgrounds
| | 08:23 | for a DVD, you need to create it at a different image
size than if you were creating a full-screen image
| | 08:28 | for Final Cut or Motion.
Don't ask me why, it just is.
| | 08:32 | Let's take a look at what high-def looks like.
| | 08:34 | High-def, thank goodness, is easier.
| | 08:37 | You have only two choices. If you're creating
images for a high-def 720p, whether it's DVCPRO HD
| | 08:44 | or whether it's XDCAM HD or XDCAM EX or whatever
it is, a full-screen 720 image is 1280x720x72
| | 08:52 | and a full-screen 1080 image is 1920x1080x72.
Just drop that image into your Timeline,
| | 08:58 | Final Cut will automatically
size it appropriately.
| | 09:01 | Again, if you want to move
around it needs to be 3200x18
| | 09:04 | for 720 image or 4800x2700 for a 1080i image.
| | 09:09 | Your images should be sized to
match the size of your sequence.
| | 09:13 | Don't worry about what the size of the video is,
remember video is working with rectangular pixels,
| | 09:18 | you're working with square pixels.
| | 09:19 | Also you want to avoid using
images that are much larger
| | 09:22 | than about 5,000 pixels when
you're working in Final Cut.
| | 09:25 | Final Cut likes your images
to be along the smaller side.
| | 09:28 | Just a couple of more cautionary notes and then
we're done with all this initial getting ready stuff.
| | 09:32 | To avoid moire or interlace flickering you want
to make sure that your images don't have thin lines
| | 09:37 | and avoid lines that are almost
vertical or almost horizontal.
| | 09:41 | Avoid very fine detail like interwoven
patterns or leaves in the background.
| | 09:46 | They all tend to set up flickering or moire.
| | 09:49 | Avoid extremely saturated colors.
| | 09:51 | You want to check them using the
vector scope inside Final Cut.
| | 09:54 | There is no vector scope inside
Motion, but there is inside Final Cut.
| | 09:57 | Use it to make sure that your colors are
broadcast safe. And it's not if you're going
| | 10:01 | to broadcast, it's whether you're burning to a DVD.
| | 10:04 | If it's going to be played on a TV set
your colors have to be broadcast safe
| | 10:08 | because over-saturated colors
cause your TV to cause problems.
| | 10:11 | We don't need this level of abuse in our life.
| | 10:14 | You want to make sure that your colors don't
get over-saturated and you want to make sure
| | 10:18 | that the color saturation is checked
for the video format that you're using.
| | 10:22 | I mentioned this earlier, but
I want to stress it again.
| | 10:24 | Use higher-quality image formats
like TIFF or PNG or PSD.
| | 10:29 | JPEG images tend to have lower image quality, they
tend to have lines, thin lines that start to break up
| | 10:34 | and we've got artifacting, blocky colors,
doesn't look as good, and please, oh please!
| | 10:38 | Keep your image size to 100% or smaller
because your images are always bitmapped,
| | 10:43 | and once they get bigger than 100% all we're doing
is making fat ugly bitmaps and we don't need that.
| | 10:48 | Boy! It's a lot to cover in
a very short period of time,
| | 10:52 | but with that as our background,
now the fun stuff starts.
| | 10:55 | We get to start Photoshop and we get
to start moving our images around
| | 10:58 | and making them look great, and
then we get to animate them.
| | 11:01 | All of that is coming up next.
| | Collapse this transcript |
| Preparing images in Photoshop| 00:00 | Okay, I lied to you. There is one more slide I want to talk about
and this is the steps I use to prepare an image in Photoshop.
| | 00:06 | It's beyond the scope of this title to teach you how to use
Photoshop. I mean there's hundreds of hours available of training
| | 00:12 | that explain how Photoshop works. So I just want to
illustrate some of the key tasks that I often use when I'm
| | 00:18 | preparing my images, and I use them in this order.
| | 00:21 | First, I set my image scaling preferences.
| | 00:23 | Then I set the correct color profile, then
I change the image color mode if necessary.
| | 00:29 | It's all kind of technical, but remember we talked about the
differences between how video images look and computer images look.
| | 00:35 | Those steps make sure that what I see,
| | 00:37 | matches what I'm going to get. Then I'll have adjust exposure
using levels. I'll crop. I'll sharpen if necessary using the
| | 00:43 | Unsharp Mask filter. And by the way, Sharpen should
always be used last, because otherwise you'll break it and
| | 00:50 | it looks ugly. And then finally I save the
image in either a TIFF or a PNG format.
| | 00:54 | Well, with that as a background, let's shift over
to Photoshop and I'll show you how this works.
| | Collapse this transcript |
| Using Photoshop| 00:00 | I'm inside Photoshop CS3 and I have gone to File >
Open, and when you do, and you've copied the files
| | 00:06 | over from your DVD or downloaded
as part of your premium account,
| | 00:10 | you'll see a folder called Exercise Files.
| | 00:12 | Inside Exercise Files is Media;
inside Media is a folder called Images.
| | 00:17 | Inside Images, I've divided
these into three categories.
| | 00:20 | Horizontal and Vertical, which we'll
use inside Final Cut and Motion.
| | 00:24 | Right now, I want to concentrate on
the image in Original called Possum.
| | 00:29 | Now, Possum is this cute little
photograph of, not surprisingly, a possum,
| | 00:33 | which was taken by our producer Samara
Iodice, and she has done a wonderful job
| | 00:37 | in providing the images that
we're working with today.
| | 00:40 | Now, if you look at this, down here
at the bottom, it's 3800x2500 pixels.
| | 00:45 | This is too big for the project
we're putting together.
| | 00:48 | Just to keep things quick, we're going to
work in a standard definition 4:3 project.
| | 00:52 | Well, if you look at the table of
numbers that we created earlier,
| | 00:55 | we've got to reduce the size of this.
| | 00:57 | So we've got some image processing to do.
| | 00:59 | If we look at the list of what we want to do
first, the very first thing that I want to do is
| | 01:04 | to go up to Photoshop and go down to Preferences.
| | 01:06 | Inside the General Preferences is a
setting, which handles Image Interpolation.
| | 01:12 | By default, this is set to Bicubic, which
is for best it says for smooth gradients.
| | 01:17 | Here is an interesting secret about Photoshop.
| | 01:20 | If you're going to enlarge a picture, you want
to set Image Interpolation to Bicubic Smoother.
| | 01:25 | If you're going to make a picture smaller,
you want to set it to Bicubic Sharper
| | 01:29 | because all these images are bigger than I need.
| | 01:32 | I'm going to scale them down, in
other words reduce their size,
| | 01:35 | so I'm going to set the Image
Interpolation to Bicubic Sharper.
| | 01:39 | You can do this in of two places.
You can do it either here in Preferences,
| | 01:42 | which means it applies everywhere.
| | 01:44 | You can also do it up here in the Image
Size menu and select it from down here
| | 01:50 | where it says Bicubic Sharper or Smoother.
| | 01:53 | Remember, Smoother is better
when you make a picture bigger;
| | 01:56 | Sharper is better when you make a picture smaller.
| | 01:58 | So, we're going to just set
this to be better for smaller.
| | 02:01 | Okay, the second thing that we want
to do; remember our discussion is
| | 02:04 | that video has a different gray scale
setting called Gamma than the computer does.
| | 02:08 | Well, there is a variety of different computer
gammas to choose from, but Photoshop makes it easy
| | 02:13 | to make sure your pictures are set
to the same Gamma that video uses.
| | 02:16 | To do that, we go up to the Edit
menu, go down to Assign Profile.
| | 02:21 | Now, the Profile refers to a color profile
and there are about 800,000 million
| | 02:27 | to choose from, way too many more than we need.
| | 02:30 | Well, here is the interesting secret.
| | 02:32 | sRGB, which is the standard default
working space for most Photoshop documents,
| | 02:37 | sRGB has a Gamma setting of 2.2,
which exactly equals the Gamma setting
| | 02:42 | for standard definition video.
| | 02:44 | Now, if you're going to work with high-definition
video, you want to click on Profile,
| | 02:48 | click on this pop-up and go down and select
HDTV, which is recommendation number 709.
| | 02:54 | this is the standard color
mode for high-definition video.
| | 02:59 | So standard def - sRGB, high-def
- HDTV, recommendation number 709.
| | 03:05 | Notice here, we've got Apple RGB.
| | 03:07 | Apple RGB is a wonderful profile except
it sets the Gamma setting too high
| | 03:11 | and your images are going to look washed out,
a little bit thin and light, so work with sRGB
| | 03:17 | or HDTV and you can set these up
and just toggle, and notice as I do,
| | 03:22 | how the gray scale slightly changes, notice
how HDTV is somewhat lighter than the sRGB.
| | 03:27 | So we're going to be doing this for standard def.
| | 03:29 | We are going to leave this set for sRGB.
| | 03:32 | The next step in our process is to make sure the
image is selected and you go up to Image Mode.
| | 03:38 | Most of the time, the image is going to be an RGB
color which is exactly the right color you want
| | 03:42 | to be in, but sometimes you'll be pulling images
in from the web or something that's designed
| | 03:46 | for print and it could be set to CMYK
which is the print space or something else.
| | 03:51 | So you want to make sure your
Image Mode is set to RGB.
| | 03:54 | Now, that we've got all these preferences
set, it's time to actually adjust the image,
| | 03:59 | and what I tend to do first,
is I work with the exposure.
| | 04:01 | Now, this is a pretty well shot
image, in fact it's darn near perfect.
| | 04:05 | First thing I want to do is control levels.
| | 04:07 | So I do Command+L, which opens
up the Levels dialog.
| | 04:10 | To adjust the black level that is to say
to make black levels darker, I drag this up
| | 04:15 | and notice how the shadows are intensifying or
if I want to make the white levels brighter,
| | 04:20 | I drag this slider to the right
and that makes the whites brighter,
| | 04:25 | that's a little on the excessive
side, but you get the point.
| | 04:28 | Most of the time, I leave the black
and white levels alone and I just mess
| | 04:31 | with this mid-tone gray and I can either
lighten the mid-tons or darken the mid-tones.
| | 04:37 | In this particular case, I want to just play with
a little bit to try to lighten the shrubbery right
| | 04:42 | around the possum's face, so
this gets a little bit lighter.
| | 04:45 | And then because this is on the bright
side, I will grab this Slider down here
| | 04:50 | and make my whites just a little bit darker,
so we'll open up the opossum just a bit,
| | 04:55 | figure out how to make him look little
bit nicer, we'll just tweak this.
| | 05:00 | Now, I'm not going to say,
this is art because it isn't.
| | 05:03 | This is just making the picture look
as good as you can get it to look.
| | 05:07 | If you decide that the whole thing is just
hopeless, click the Cancel button and we go back
| | 05:10 | to this, this is the perfectly
exposed shot that we're going to use.
| | 05:13 | We've now got our shot adjusted
using the Levels command.
| | 05:16 | The next step is to size the image.
| | 05:18 | Now, here we have two choices, the
first choice is we could use the marquee
| | 05:23 | and we could drag a selection
rectangle around our image.
| | 05:26 | The advantage to this is that we've got complete
freedom in terms of how we size the image,
| | 05:30 | the disadvantage to this however is that
it becomes a two-step process for scaling.
| | 05:36 | For me, I have been studying recently by
listening to the tutorials on lynda.com
| | 05:40 | and found a much better way to work.
| | 05:42 | Remember that we reset that preference,
| | 05:44 | so that it automatically does image
resizing by applying Bicubic Sharper.
| | 05:49 | Well, that means that when I use the
Cropping tool, the Cropping tool
| | 05:52 | will use that exact same technique.
| | 05:55 | So I'm going to use the Crop tool and the benefit
of using the Crop tool is I can now drag that crop
| | 05:59 | around wherever I want, and what I have done is
I have preset the Crop tool by going up to here
| | 06:05 | to say, I want to have our standard width be 1800,
our standard height be 1350, our resolution be 72.
| | 06:12 | so regardless of what size I draw, what image size
I draw-- let's escape this so it doesn't rotate.
| | 06:19 | It's always going to be 1800x1350, I'm just
pressing the Escape key to cancel this.
| | 06:25 | So I can draw a big image, I can draw
on itty-bitty image and in all cases,
| | 06:29 | it's going to be cropped and sized at the
same time using that Bicubic algorithm.
| | 06:35 | Well, let's have our possum here, just sort of
peek out from the side of the image, here we go,
| | 06:42 | because what we'll do later is we'll take
this whole image and we'll just do a move
| | 06:46 | into the possum's face. All right, good.
| | 06:50 | So now we've got it cropped, we hit the Enter
key and it automatically crops the image,
| | 06:55 | and we can zoom in on to see what it
looks like by using the Zoom tool.
| | 06:59 | The next step is to decide whether we
want to sharpen the image that is to say,
| | 07:03 | make it look like it's greater apparent
focus. Now, what Sharpening actually does,
| | 07:07 | is Sharpening adjusts the edge
definition. It looks for an edge
| | 07:11 | and sort of adds a highlight to it.
| | 07:13 | So it gives the illusion of greater focus.
| | 07:16 | If you want something to have sort of a
soft gentle look, you don't sharpen at all.
| | 07:20 | If you want something to be as well
defined as possible or if your image
| | 07:24 | that you shot is just a shade on the not
quite focused side, Sharpening can help.
| | 07:29 | Let me show you how this works. So we
go up to Filter, we go down to Sharpen.
| | 07:33 | There is only one sharpening filter
that I recommend you use for this kind
| | 07:36 | of project and that's the Unsharp Mask.
| | 07:39 | It's not the most intuitive
name, but it is the best filter.
| | 07:42 | We use Unsharp Mask and let's just grab
this hand and find our little possum here.
| | 07:46 | Oh, what a sweet little thing.
| | 07:49 | Anyway, let's find an edge
so we can check on this.
| | 07:52 | Generally, you want to add between 30 and 55%,
as you add more, notice how we're starting
| | 07:58 | to get some edge definition in here, and
I want to just add enough edge definition,
| | 08:02 | so it looks like it's in focus and you keep
the radius small, we don't crank this up.
| | 08:07 | That maybe a special effect that
you're after, but we're after the idea
| | 08:10 | that people are not going to say, oh, wow!
| | 08:12 | You applied a lot of sharpening
to that, didn't you?
| | 08:15 | Wrong, we want to have it so people
say, oh, what a cute little possum.
| | 08:18 | So, for us somewhere between 30 and 50%
amount and a radius of around 1 pixel,
| | 08:24 | in other words, the default settings aren't bad.
| | 08:26 | Unlike sharpening inside Final Cut where the
default settings are so ridiculously wrong
| | 08:30 | that we recommend not even using the filter,
and you could add just a little bit of threshold
| | 08:34 | and watch it, but notice that the smaller
the threshold, the sharper the image appears.
| | 08:39 | So once you're done with that, you click OK.
| | 08:41 | Remember, sharpening should always be done last
and the reason is, is that sharpening is looking
| | 08:47 | at that specific resolution, that specific
framing, if you change the resolution,
| | 08:52 | then you're going to knock your sharpening out
of whack, you're going to have to do it again,
| | 08:55 | and the one thing you never ever
want to do is double sharpen an image
| | 08:58 | that just gets to be out of control.
| | 09:00 | So, we now have our picture framed.
| | 09:02 | We have adjusted all the settings that we want.
| | 09:04 | Now it's time to save it.
| | 09:05 | We could save it as a Photoshop document
but because it's coming as a single still,
| | 09:10 | I might as well just make it a single
layer, and to do a single layer,
| | 09:13 | I recommend you save it as either a TIFF or a PNG.
| | 09:18 | Both of them are good.
| | 09:19 | PNG tends to be newer, TIFF tends to be
older, I tend to be a TIFF kind of person
| | 09:23 | but I still talk to people that use PNG.
| | 09:25 | We are going to give this a special name,
we're going to start with Horizontal,
| | 09:29 | so I can recognize that it's a
horizontal picture as opposed to vertical.
| | 09:32 | And we're going to save it inside the
Horizontal category and click Save.
| | 09:38 | When this option comes up, I'm a fan
of either LZW or Zip Compression.
| | 09:42 | They make the file smaller, there is no loss in
image quality, I'd recommend against using JPEG
| | 09:47 | because JPEG does introduce artifacting
and does introduce lack of image quality.
| | 09:53 | Leave this pixel order alone and
if you're on a Macintosh and you're
| | 09:56 | because you're using Final Cut, make sure the
Byte Order is set to Macintosh and click OK.
| | 10:00 | And that's it, we've gone through
the process of setting the profile
| | 10:04 | to make sure that it's set to sRGB.
| | 10:07 | We've set our Scaling Preferences
so as we resize the image,
| | 10:10 | we get the best possible quality and scaling.
| | 10:12 | We made sure our Color Mode is set to RGB, we
adjusted our exposure using Levels, although I
| | 10:17 | will say this is perfectly shot. And then we
cropped it to make sure it's the right size,
| | 10:21 | sharpened it if necessary and saved it.
| | 10:24 | Some of these steps aren't necessary all the
time, but I do want to show you all the steps,
| | 10:29 | so you understand what to do as
you work with your own images.
| | 10:32 | I've gone through and I have prepped all the
rest of our images except for one thing I want
| | 10:35 | to show you. Let's just close this,
I want to open one more image.
| | 10:39 | I've got a Bird Bath shot here and
notice this birdbath shot, okay?
| | 10:44 | It's a vertical, it isn't a 4:3 image,
but it's a very special vertical.
| | 10:48 | Notice that I have set it to be 720 pixels wide x
1080 pixels high and let me just do the Levels command,
| | 10:56 | I want to make this just a little
bit on the darker side pop.
| | 10:59 | Make it look a little bit more vibrant
here. Good, a little bit more, good!
| | 11:06 | Now, the reason it's this special size is
we're going to start down here on this flower
| | 11:10 | and use this to tilt up, and that way
we can do this nice beautiful move up,
| | 11:15 | but it's a precise size of 720, which is
the width of a standard definition frame,
| | 11:20 | and exactly two screens high, so we'll start at
the bottom and I've got room to do a tilt up.
| | 11:25 | So I have already gone through and trimmed
my horizontal slides to be a 4:3 shape,
| | 11:30 | but I have also done some special
work on the vertical slide, 720x1080.
| | 11:34 | If for instance, I took this image and I rotated
it right there, we'll rotate this 90 degrees.
| | 11:41 | Okay, let's pretend that we had a horizontal
shot, alright, what I would do here,
| | 11:46 | is my horizontal shot would be 540 units high
x 1440 wide, so I could a pan left or right.
| | 11:53 | In other words, I can create not
just a full-screen image but an image
| | 11:56 | which I can then pan along,
a vertical image 720x1080,
| | 12:01 | a horizontal image which would be 1440x540.
| | 12:05 | So we can use these numbers, these magical
numbers to allow us to create pans horizontally,
| | 12:09 | tilts vertically or full image moves,
all kinds of stuff that we can work with.
| | 12:14 | So we're done now with Photoshop, we have done
our image preparation and we have made sure
| | 12:18 | that everything looks just exactly right.
| | 12:20 | The next step is to move everything
into Final Cut and start to do moves
| | 12:23 | on our images, and Final Cut is next.
| | Collapse this transcript |
|
|
3. Animating in Final Cut ProOverview of animation| 00:00 | We have selected our images. We've got our images all prepped and
ready to go. Now it's time to start to make a move inside Final Cut Pro.
| | 00:07 | So here's what we're going to be talking about.
| | 00:09 | I'll show you how to import images, and some
specific preference files you need to pay attention to.
| | 00:14 | How to create an audio track. This is
actually very easy, but you still need it.
| | 00:19 | How to build an image sequence, then
| | 00:21 | how to add transitions.
| | 00:23 | I'll show you that there are two different ways that we can
adjust our images. We can adjust them in the Canvas, and we can
| | 00:27 | adjust them in the Motion tab.
| | 00:30 | We can also adjust in the Timeline,
| | 00:32 | but I prefer the Motion tab.
| | 00:34 | Well, I'll give an introduction to keyframes. I'll show you
how to use keyframes to add motion, and how to add curves
| | 00:40 | and ramps using Bezier controls.
| | 00:43 | And even better I'll have this done in less than a week.
| | 00:47 | So let's start by importing images.
| | 00:50 | That is next.
| | Collapse this transcript |
| Importing images| 00:00 | Probably the best place to start is importing
images, because we've got to get them
| | 00:05 | into Final Cut before we can
do anything with them.
| | 00:06 | So in this section, I'm going to show you
how you can change the import preferences
| | 00:10 | and the import gamma settings for an image.
| | 00:13 | I'll show you how and where to
change video processing settings.
| | 00:16 | Then onto something really fast and really easy:
importing your files or importing your folders.
| | 00:22 | And once we have got them imported, I'll show you
how to change the image durations in the browser.
| | 00:27 | So let's get ourselves started
by switching over to Final Cut.
| | 00:30 | I have created a new project and then this
image, which is called FCP 01 Image Start,
| | 00:36 | and I set up a couple of bins,
which don't show up here.
| | 00:39 | Not to panic.
| | 00:40 | Everything looks the same and works the same.
| | 00:42 | This is an NTSC DV 4x3 image.
| | 00:44 | As we can see here, this is 4x3
in both the Viewer and the Canvas.
| | 00:49 | I have a project here called FCP Image Start.
| | 00:52 | You will find it inside the Project
folder, inside your exercise files.
| | 00:56 | It's a DV NTSC 4x3 image.
| | 00:59 | We can see the 4x3 image here in the Viewer and
in the Canvas, but before we bring our images in,
| | 01:04 | I want to talk about changing a
couple of the Preference settings,
| | 01:08 | and those preference settings are stored
up in Final Cut Pro > User Preferences.
| | 01:12 | If we go to the Editing tab here, the very
first line in the top left corner says,
| | 01:17 | Still/Freeze Duration, and
it has a 10 second default.
| | 01:21 | Now this is actually two different numbers.
| | 01:23 | The first is the Duration, that's the time, the
distance between the In and the Out on a clip.
| | 01:29 | The second is its Length.
| | 01:31 | The length of a clip is the
Media Start to the Media End.
| | 01:35 | Well, when we import an image,
it's given an In and Out,
| | 01:39 | such that the duration is 10 seconds,
but it's length is two minutes.
| | 01:43 | Well, it's actually two minutes in one frame.
| | 01:46 | If you really want to be precise about it.
| | 01:48 | Anyway, when I import an image, it's going
to set that image to be a 10 seconds default.
| | 01:52 | If I wanted to bring in an image sequence,
| | 01:55 | so each image is a single frame,
I would set this to one frame.
| | 01:59 | If on the other hand, I wanted to bring
in an image that was say 30 minutes long.
| | 02:03 | I would set this to be 30 minutes.
Not three minutes, no, no, no.
| | 02:08 | That would be a mistake, we want 30.
| | 02:11 | Here we go, 30 minutes, But what's actually
happening is it's setting an In and an Out,
| | 02:16 | such that the distance between
the In and the Out is 30 minutes,
| | 02:19 | and the length is two minutes
and one frame longer, 32.01.
| | 02:23 | That's why you can adjust the In and the
Out, even on a still image a little bit,
| | 02:27 | and still have room. Handles in which to adjust it.
| | 02:30 | For what we're doing today, a 10 second duration
will be fine, but one of the problems I have had
| | 02:34 | is let's say, I need a delay a super over
an entire show that's 30 minutes long.
| | 02:39 | What I have to do in the past is
do Copy, Paste, Copy, Paste, Copy,
| | 02:41 | Paste and have this clip just get repeated over.
| | 02:43 | Well, now I don't have to do that.
| | 02:45 | Before I import it, I'll set the duration to be
the length that I want, and that Still Frame comes
| | 02:50 | in at that length. Much, much easier.
| | 02:52 | There's another setting on the same screen.
Notice where it says Gamma Level Source.
| | 02:57 | If you're having a problem matching the grayscale
level inside Final Cut with the grayscale level
| | 03:01 | of the image that you created, say
you created them all using Apple RGB,
| | 03:05 | which has an image gamma of 1.8, then
you would want to set this to 1.8,
| | 03:10 | so that Final Cut knows how to adjust the
gamma. Because we made a point to switch all
| | 03:14 | of our images to SRGB, which
has a gamma setting of 2.2.
| | 03:18 | They are automatically ready for
video, but that's not always the case,
| | 03:22 | because not everybody has seen this training.
| | 03:24 | Consequently you may need to play with the gamma
setting, and this is only inside Final Cut 6.0,
| | 03:29 | because this did not exist in earlier versions.
| | 03:32 | So for us, we're going to work
with the Source gamma setting,
| | 03:34 | and remember gamma controls
the mid-tone gray of an image.
| | 03:38 | Once you've set the Still/Freeze
Duration to be what you want,
| | 03:41 | a single frame for an image sequence, or 30 or
45 minutes or an hour and a half for something
| | 03:46 | that you want to have stretched
over into your program.
| | 03:49 | Once you have set the gamma settings
then we're done with this preference,
| | 03:53 | but there's still one more
preference you might want to consider,
| | 03:55 | and that is over in the Sequence menu.
| | 03:58 | Now to select the Sequence menu, you select the
Timeline, go up to Sequence, go down to Settings,
| | 04:04 | and notice there is a new tab
here called Video Processing.
| | 04:07 | You want to make sure if what you're creating
is going to DVD or to broadcast or to cable,
| | 04:13 | that this is set to the Process
the Maximum White as White.
| | 04:16 | What that does is it takes all imported
graphics and locks the white levels,
| | 04:20 | such that it does not exceed 100%.
| | 04:23 | If you're editing specifically for the Web, it
will only go to the Web and you don't ever plan
| | 04:28 | to put it on DVD or broadcast,
then you can get a greater level
| | 04:32 | of whites by setting this to Super White.
| | 04:35 | But most of the time you're best
off leaving this set to White.
| | 04:38 | Also just one another thing.
| | 04:39 | If you're dealing with still images,
processing an 8-bit YUV is a good choice.
| | 04:44 | As you start to work with
gradients or color correction,
| | 04:46 | you might want to consider changing
your rendering to high-precision.
| | 04:50 | It's going to slow your rendering
down, so there is a trade off here,
| | 04:53 | but it will make your ultimate
render files have a higher quality.
| | 04:57 | What you might want to consider doing is leaving
it set to Render in 8-bit YUV because it's faster
| | 05:01 | for all of your editing, and then do one
more render pass just before output and say,
| | 05:06 | Render all YUV material in high-precision.
| | 05:08 | Your render files will be the same size,
your render time will be increased,
| | 05:14 | and your render quality will improve.
| | 05:16 | Now that we have got this, we will just leave
this for 8-bit YUV for what we were doing here,
| | 05:21 | and you can practice and take a look and can
see which are these looks better for you.
| | 05:24 | If you can't tell the difference, then obviously
leave it in 8-bit YUV, because it will be quicker.
| | 05:29 | But I suspect, is epically if you start to get
into color work, and into working Motion projects,
| | 05:34 | and working with gradients, that you will see
a difference and improvement in the quality
| | 05:38 | of your images by rendering an high-precision.
| | 05:40 | Let's click OK here, and let's import our image.
| | 05:42 | There is a variety at different
ways of importing our image.
| | 05:45 | The first is, we can select File >
Import Files or File > Import > Folder,
| | 05:52 | or we can use the keyboard shortcut Command+I.
| | 05:55 | Now there is also another way we could do it.
| | 05:57 | If you hold the Control key down,
or right mouse click over here.
| | 06:00 | We have Import Files and Folders.
| | 06:03 | So we have three different
ways of bringing our files in.
| | 06:06 | So I'm going to go find our folder
by going, File > Import > Folder,
| | 06:11 | and I have copied my Exercise
Files to the desktop.
| | 06:15 | I'll click the Exercise File folder, click
the Media folder, click the Images folder,
| | 06:21 | and I'll bring in all of Vertical images, just
highlight that whole folder and click Choose.
| | 06:27 | Notice that it's now brought in all of my images.
| | 06:29 | I'll leave them with the letter V so
I know that they are vertical images.
| | 06:33 | This is the birdbath that we looked at before.
| | 06:36 | Double click it.
| | 06:37 | Yup. Yay, birdbath.
| | 06:39 | Notice that the duration is 10 seconds, and if we
open if this up just a bit, and I Control-click
| | 06:45 | on one of these column headers, which
allows me to see the hidden information
| | 06:50 | that the Browser is keeping track of.
| | 06:52 | Notice under here, it says, Show
Length, and there is our length.
| | 06:55 | It's two minutes and one frame
longer than the duration of the clip.
| | 07:00 | So that when I open this up into the
Viewer, there is my In, there is Out,
| | 07:04 | but look at my Media Start and Media End.
| | 07:06 | I have got lots of extra handles on that image.
| | 07:10 | Now I can bring in another folder.
| | 07:12 | I'll go up to File > Import
> Folder, and this time I'll bring
| | 07:17 | in the Horizontal Images, and bring those in.
| | 07:20 | They're coming in their own
bin, and there's our images.
| | 07:23 | If I wanted to bring in a single file,
I could say, File > Import > Files,
| | 07:28 | or I could type Command+I, but
when I do that the files comes
| | 07:31 | in at the highest level of the Browser.
| | 07:33 | Let's say that I wanted to
put an image inside a folder.
| | 07:37 | Well, I hold a Control key down, or
right mouse click, and say Import Files.
| | 07:42 | And as long as I'm clicking on a Folder,
it allows me to select a particular image,
| | 07:46 | in this case the original of our
Possum, and when I bring it in,
| | 07:50 | notice that Possum is imported directly into
that folder, what Final Cut calls a bin.
| | 07:55 | So I can import, type in Command+I
for individual file or files.
| | 08:00 | I can import a folder or by Control-clicking
on a folder itself, I can put a specific file
| | 08:05 | or files inside a folder that
I'm Control-clicking on.
| | 08:08 | Lots of flexibility and
the nice thing is it's easy,
| | 08:10 | I don't have to say it's a
particular kind of file.
| | 08:13 | I just say bring it in! And Final Cut brings
it in, and figures out if it's a still image
| | 08:17 | or a Photoshop document, an
audio file or video file.
| | 08:20 | Very easy, very straight forward.
| | 08:22 | If you need to change the duration, double-click
on it, and type in the duration you want this
| | 08:27 | to be, five seconds, and that easily you
have changed the duration of the clip.
| | 08:34 | All easy simple to do, and now we have got
our files imported, the next step is to start
| | 08:40 | to turn this into an actual sequence,
and that begins with the audio,
| | 08:45 | and creating our audio track is next.
| | Collapse this transcript |
| Creating an audio track| 00:00 | I have created another new project
for us called FCP-02 Image Audio.
| | 00:05 | I have imported the images and I have imported
the music, and put them into an appropriate bins,
| | 00:10 | just to make things a bit more
organized and easier for us to find.
| | 00:13 | The image audio's where we're
going to build our audio file,
| | 00:16 | and there is two different audio
clips that we have to work with.
| | 00:18 | There is this one called the Across
Town and this one called Introspective,
| | 00:21 | and both of these are from the SmartSound folks.
| | 00:24 | Now there are several advantages to working
with SmartSound audio, not the least of which
| | 00:28 | that it's royalty-free, but here is a
very cool feature that they have provided.
| | 00:32 | If I load Across Town by double-clicking
it into the Viewer, and I hit the spacebar.
| | 00:37 | (Music plays.)
| | 00:41 | Now if you start tapping your foot that's a good
thing, because at some point you've got to figure
| | 00:45 | out the beat structure of
how often the beats repeat.
| | 00:47 | Well, SmartSound tells you.
| | 00:49 | In this Across Town, it's actually
built on an eight beat structure.
| | 00:53 | One, two, three, four, five, six, seven, eight
beat, and you want to edit on the down beat.
| | 00:58 | Well, it just so happens, that every
eight beats is two seconds and 26 frames.
| | 01:02 | So if we would listen to this.
| | 01:03 | (Music plays in background.)
One, two, three, four, five, six, seven, eight,
| | 01:06 | (Music plays in background.)
one, two, three, four, five, six, seven, eight.
| | 01:09 | (Music plays in background.)
One, two, three, four, five, six, seven, eight.
| | 01:12 | One, two. (Music stops.)
| | 01:13 | And if you do your edits on the downbeat,
on the one, your music and your videos are going
| | 01:18 | to tend to reinforce a bit better.
| | 01:20 | Well, what happens if you're
used to counting music?
| | 01:22 | Well, that's where you can use those numbers.
| | 01:24 | If I set a marker here by typing the letter M, and
then on the keypad all the way to the right side
| | 01:30 | of my keyboard, I hit a plus key, and type 226,
which is how many seconds and frames between beats,
| | 01:36 | notice my playhead jumps to the right two
seconds and 26 frames. Type a marker, plus, 226, Enter.
| | 01:43 | Type a marker, plus, 226, Enter,
type the letter M, plus, 226, Enter.
| | 01:49 | And type the letter M. And now when we play it.
| | 01:51 | (Music plays.)
| | 01:54 | (Music plays in background.)
One, two, three, four, five, six, seven, eight.
| | 01:57 | One, two, three, four, five, six, seven, eight.
| | 02:01 | (Music stops.) In other words, the markers
are marking out exactly where our downbeat is.
| | 02:05 | Now the cool thing about markers is that
once I edit this clip down to the Timeline,
| | 02:10 | the markers go with it.
| | 02:11 | See there are my markers. And the advantage
to markers is now I don't even have to listen
| | 02:16 | to the music to be able to find
out where my downbeats are.
| | 02:19 | Now I don't about you, but after I
have heard the same piece of music
| | 02:22 | for about 751 times, I'm sick unto death of it.
| | 02:26 | So it's nice to be able to have the marker here.
| | 02:29 | Turn our speaker off.
| | 02:30 | Which will just kill our audio, and then I can set
my Edit point here, and set my edit point because
| | 02:36 | notice that the Final Cut will snap to markers.
| | 02:38 | Now here's another cool thing. If you want to
jump from one marker to the other, type Option+M.
| | 02:43 | That takes you back a marker and
Shift+M takes you forward a marker.
| | 02:47 | So you can jump between markers with a keystroke.
| | 02:50 | Shift+M to go forward a marker.
| | 02:52 | Option_M to go back a marker and wherever that
audio clip gets dragged, the markers go with it.
| | 02:58 | If the clip is not selected,
Shift+M and Option+M don't work.
| | 03:02 | So you have to have the audio track selected
for Shift+M and Option+M to function.
| | 03:06 | When you want to get rid of the marker,
select the clip, go up to the Mark menu,
| | 03:10 | go down to the Markers > Delete All,
and poof! They are gone.
| | 03:14 | So we have got two pieces of music to work with.
| | 03:16 | We have got Across Town.
| | 03:17 | We have got something which is a bit
more, oh, introspective. Sounds like this.
| | 03:21 | (Music plays.)
| | 03:25 | (Music plays in background.)
This is done on the six beat.
| | 03:27 | Four, five, six.
| | 03:29 | One, two, three, four, five, six,
| | 03:31 | one, two, three, four, five, six.
| | 03:33 | One, two. (Music stops.)
| | 03:35 | The other way we can add markers instead of doing
it mathematically is just do it by listening,
| | 03:38 | hit the spacebar and as you hear the beat, type the
letter M. It just means you got really focus on the beat.
| | 03:44 | (Music plays.)
Two, three, four, five, six.
| | 03:45 | One, two, three, four, five, six,
| | 03:48 | one, two, three, four, five, six.
| | 03:50 | One, two, three, four, five, six.
| | 03:53 | One. (Music stops.)
| | 03:53 | The cool thing about these pieces of music is
| | 03:56 | neither of them are in a rock
beat, which is a 4/4 beat.
| | 03:59 | One is in a six beats to measure,
one is in eight beats to the measure.
| | 04:02 | It gives you chance to practice
your music counting skills.
| | 04:05 | Whether you add markers manually by typing the
letter M, whether you add markers automatically
| | 04:09 | by dialing in the number of seconds and frames
between downbeats is entirely up to you.
| | 04:14 | But once you get those markers added
to the clip and the clip edited
| | 04:17 | to the Timeline, it can help with your editing.
| | 04:20 | But I'll do after we stop this movie
is I'll add markers to our audio clip,
| | 04:24 | because in the next movie, it's
time to start adding images
| | 04:27 | and building our sequence
and montage. That is next.
| | Collapse this transcript |
| Building a sequence| 00:00 | I realized that we're going to have
a whole bunch of Final Cut sequences,
| | 00:03 | so inside the Project folder, I have gone back
and renamed them, so they start FCP 01,02, 03.
| | 00:09 | So you can follow them along in the right
order with what our projects are going to be.
| | 00:13 | So if you get confused about why the
first couple didn't talk about 01 and 02,
| | 00:17 | it's because I added the numbers
in the middle of the training.
| | 00:19 | I didn't want you to get confused.
| | 00:21 | Okay, so let's build our sequence.
| | 00:24 | I've got two sequences here.
| | 00:25 | One is where I have got the audio only, and
the other, which is the images are built.
| | 00:30 | I just want to point out a couple things.
| | 00:32 | Our first shot. See we have got all
wonderful pictures to work with here.
| | 00:37 | So I'm going to start with the pink flower.
| | 00:39 | I'm going to grab this, put my playhead where I
want the edit to occur, click the red envelope,
| | 00:44 | and because I have set to markers and the
markers are already set to the beat of the music.
| | 00:48 | I know that I can set this firsyt shot.
| | 00:51 | (Music plays.)
| | 00:57 | So I could have it go from marker to marker
without even having to the listen to the music.
| | 01:01 | Again, it makes a whole lot faster to
do my image, my building in this case.
| | 01:05 | So that's going to be on my first shot.
| | 01:06 | My second shot, I just happen to have a
butterfly that's parked on a pink flower.
| | 01:11 | Sure it's the same pink flower,
and I'm going to stick
| | 01:15 | with that story for the rest of this training.
| | 01:16 | We are going to put this image down
here and edit, I could trim it.
| | 01:22 | Let's listen to this here.
| | 01:23 | (Music plays.)
| | 01:28 | First that one takes too long, so we'll trim
it back and we will make this one shorter,
| | 01:32 | but here is the real reason for showing this.
| | 01:34 | By this way here is a killer keyboard shortcut.
| | 01:36 | Select these two clips, type Shift+Option+Z.
| | 01:40 | It automatically expands the
selected clips to fit in the Timeline.
| | 01:44 | Isn't that cool or what?
| | 01:46 | Shift+Option+Z, okay.
| | 01:48 | (Music plays.)
| | 01:51 | The difficulty is what happens if
I decide to put a transition here?
| | 01:55 | As you're going to see when we talk
about transitions in the next movie,
| | 01:58 | a transition adds handles, extra
video before the In and after the Out.
| | 02:02 | Which doesn't affect anything normally,
but when we start to add keyframes,
| | 02:06 | it can drive you absolutely bonkers.
| | 02:09 | So what we want to do instead of
having the two clips touch like this,
| | 02:13 | is I'm going to select the
other clip and move it up a track.
| | 02:16 | I did that by holding the Option
key down and hitting the Up arrow.
| | 02:19 | Option+Uparrow allows me to
move a clip up or down the track.
| | 02:23 | Now because the clips are separate, I
can dial in the handles that I need,
| | 02:28 | to make sure that I have got
the necessary overlap.
| | 02:30 | So that when I add a transition, again we
will talk about this a little bit later,
| | 02:34 | my transition lengths will accommodate
the handles, which doesn't screw
| | 02:37 | up my keyframes, which makes my life easier.
| | 02:40 | It means I can sleep well at
night and the dog still loves me.
| | 02:43 | So I'm going to build this on an
opposite track here, but for right now,
| | 02:48 | just so we can check our beats,
I'm going to have it do a cut.
| | 02:52 | So I make sure that the flow
and the shot order feels right.
| | 02:56 | Rather than have you go through
the process of building all these,
| | 02:59 | I have done it for you and created a
Sequence called Sequence 2 Images Final,
| | 03:03 | and you can watch this yourself, and
I'm sure you will have a better way
| | 03:06 | of building it than what I have done.
| | 03:08 | But our goal here is to show you how to move
on still images, not how to build sequences.
| | 03:13 | So let's keep on moving here, and
we're work with this image sequence,
| | 03:17 | and we will talk about now how to add
transitions. But before I do, I want to digress
| | 03:22 | and give you one note on rendering.
| | 03:24 | See this green Render Bar here.
| | 03:27 | The green Render Bar means that we're going
to have to render before we do final output.
| | 03:32 | Green means that Final Cut can
play this sequence in real-time,
| | 03:35 | but it still going to have
to render before output.
| | 03:38 | So let me digress and talk about
Rendering for just a second.
| | 03:41 | To render, means to convert something.
| | 03:44 | A still image, and affect the Motion project file
| | 03:47 | into a high quality, ready
for output video or audio.
| | 03:51 | All still images must be rendered before
output, however, depending upon the speed
| | 03:57 | of your computer, not all images will
need to render while you're editing,
| | 04:00 | and that's what that green bar means.
| | 04:02 | This is good enough, that my computer is fast
enough to play them for editing purposes.
| | 04:07 | Now there are three ways that we can render.
| | 04:10 | We can have Final Cut do it automatically
during output, and that's easiest.
| | 04:14 | We can render the entire sequence
using the Render All menu,
| | 04:17 | or we can render just selected
media using Render Selection.
| | 04:21 | Now there is no difference in quality
between these three methods of rendering.
| | 04:25 | It's just a question of when you want to do
it: at the end, all at once, or in process.
| | 04:30 | Me, I tend to do it in process using
Render Selection, and here's how.
| | 04:35 | When I switch back to Final Cut, I
select that which I want to render.
| | 04:39 | In this case I'm going to
draw just for those two clips.
| | 04:42 | Go up to the Sequence menu,
and there's my choices,
| | 04:45 | Render Selection, Render All or Render Only.
| | 04:48 | I'm generally selecting between
these top two choices.
| | 04:51 | Render All will render the entire sequence.
| | 04:54 | Render Selection will only render that which
you have selected, in this case two clips,
| | 04:59 | and that which is checked over here.
| | 05:03 | In this case Render Selection is only
rendering that which has red Render Bar over it.
| | 05:08 | Everything needs to render before it outputs,
what I'll do is, I'll go through here.
| | 05:12 | Go to Sequence > Render Selection
and check all of these,
| | 05:16 | so that they are all checked
and everything renders properly.
| | 05:21 | So I can see exactly what it's going to look like.
| | 05:24 | Now when I go Sequence > Render
Selection > Both, meaning video and audio.
| | 05:29 | Select Both.
| | 05:30 | It goes through and renders everything,
| | 05:32 | and notice the green Render Bar
has been replaced with a gray.
| | 05:36 | 'I've been rendered' bar, and this is the
exact image we're going to end up with on output.
| | 05:43 | (Music plays.)
| | 05:50 | Well, except that we're going to add animation,
so I'm not going to really worry about rendering
| | 05:55 | at this point, but I felt that as long
as we're starting to see Renders Bars,
| | 05:58 | we should probably digress a moment and say
| | 06:00 | that rendering involves calculating an effect
before you can play it back in real-time,
| | 06:04 | and you have a variety of choices of when
to render, and you simply pick the version
| | 06:08 | of rendering that works best with you style
of working, and the quality is the same.
| | 06:13 | With that being said, let's shift gears, and
let's take a look how we can add transitions.
| | 06:18 | Lots of different ways to do it.
| | 06:19 | I'll give you some choices to consider.
| | 06:21 | All of that is next.
| | Collapse this transcript |
| Adding transitions| 00:00 | Now it's time for us to add transitions.
All the transitions require handles,
| | 00:05 | and the handle is extra media before
the In and after the Out. Handles are, in
| | 00:10 | general, equal to half the length of
the transition. So if you were doing say a
| | 00:14 | 30 frame transition, then you would
need to have 15 additional frames after the
| | 00:18 | Out of the outgoing clip, and 15
frames before the In of the incoming clip,
| | 00:23 | because the during the time of that
dissolve, both the Out and the In are on
| | 00:27 | screen at the same time. Transitions
always add complexity to moving still
| | 00:32 | images because transitions require
handles. If you're building your image
| | 00:36 | sequence to a single track, the
workflow is simple. Build your still image
| | 00:40 | sequence, add your transitions, then
add keyframes. When you're building your
| | 00:45 | image sequence to two tracks, which I
recommend, the workflow's a little bit
| | 00:49 | different. Build your image sequence,
then add handles, then add keyframes.
| | 00:55 | Finally, add transitions. The problem
with building all of your images to a
| | 00:59 | single track is that at the start of
the transition, the image is invisible,
| | 01:04 | and it's really hard to set keyframes
when you can't see what you are working
| | 01:07 | on. By building your images to two
tracks and adding handles you're able to see
| | 01:12 | exactly what your image looks like
without any difficulty. And then adding
| | 01:16 | transitions later becomes easy. There
are three ways to add a transition inside
| | 01:21 | Final Cut. First is to select the edit
point and type Cmd+T to add the default
| | 01:25 | video transmission or Option+Cmd+T
to add the default audio transition or
| | 01:30 | select the edit point and go up to
the Effects menu and pick the transition
| | 01:35 | that you want or go to the Effects tab
in the browser, find the transition you
| | 01:40 | want and drag it on top of the edit
point you want to apply the transition to.
| | 01:44 | Let me show you now how we can add
transitions to our image sequence. This is
| | 01:50 | the image sequence that we created in
that last lesson, and notice that I've
| | 01:54 | checkerboarded my videos, so that they
go on alternate tracks. This makes the
| | 01:58 | addition of handles easy both to see
and to deal with, when it comes time to
| | 02:02 | work with keyframes. So first thing
that I want to notice here, is let's just
| | 02:06 | zoom in on these two clips. Shift+
Option+Z, and there is an instantaneous
| | 02:11 | transition from one to other.
| | 02:13 | (Music plays.)
| | 02:14 | Good. Notice how the cut occurs
| | 02:16 | right on the beat. That's what I use
those markers for. Now if I would have put
| | 02:20 | a dissolve between these two clips,
what a dissolve is going to require is for
| | 02:24 | this edit to hit, say 15 frames earlier,
and this edit to hit 15 frames later.
| | 02:29 | They would need to overlap for the
duration of the transition, but what I did
| | 02:33 | is I went up to the Effects menu and I
went to Cross Dissolve, and I changed
| | 02:38 | it's duration to 20 frames. For me, a
20 frame Cross Dissolve is much more
| | 02:42 | interesting, much more vital, than a
30 frame. You wouldn't think 10 frames
| | 02:45 | makes a difference, but for me it
does. I simply change the length by
| | 02:50 | highlighting, typed in 20, selected
Cross Dissolve, went to Effects and said
| | 02:55 | Set Default. This made the Cross
Dissolve a default transition. Once I have
| | 03:00 | changed the default transition, and I
know that it's 20 frames long, I need to
| | 03:04 | add ten frames to the length of the
beginning and the end of every clip to
| | 03:09 | which I'm going to apply a transition.
In this case, I'll select this edit
| | 03:13 | point right here. I could drag, but
here is a much faster way to do that. On
| | 03:17 | the keypad, select the edit point, and
if you wanted to move left, type -10,
| | 03:23 | Enter on the keypad. Select the out,
and type +10, Enter. Now when I add that
| | 03:32 | default transition, Command+T,
notice that I have got enough handles. It
| | 03:36 | centers right on the beat. That's
what that marker indicates. Starting ten
| | 03:40 | frames earlier, and finishing ten
frames later. Well, that's very cool. Let's
| | 03:45 | take a look at this the next one. I
want to make this one start ten frames
| | 03:49 | earlier. Well, here's an interesting
tip you can use. We can only select one
| | 03:53 | edit point per track, but since as I
have two tracks, I can select two edit
| | 03:58 | points at the same time. I'll hold the
Command key down, select the In on both
| | 04:02 | clips, type -10, Enter, and I have
now trimmed both those edit points, +10,
| | 04:08 | Enter. Move to the right, +10, Enter,
only on the keypad, not on the keyboard,
| | 04:16 | and I then go through all of my edits
and I add 10 seconds before the In, and
| | 04:21 | 10 seconds after the Out. If you want
to see what they look like when all these
| | 04:25 | handles are complete, go to Sequence 02
Images With Handles, and now notice how
| | 04:29 | all the clips are overlapped. And
they are overlapped by the length of the
| | 04:33 | transition, which in this case is 20
frames. Now to add the transitions, simply
| | 04:38 | select the edit point, type Command+T,
and now we can add the transition.
| | 04:42 | Notice that I only add the transition
to the top track, and that's because the
| | 04:46 | bottom track is assumed to be there.
We don't have to put the transition on
| | 04:50 | both. You only need to put the
transition on the top track, and we would go
| | 04:54 | through, If you want to see what it
looks like with all the transitions in
| | 04:56 | place, double click on Sequence 03 and
now I have got transitions on all of my
| | 05:01 | clips. Notice this last one. It's a
little bit different than the others.
| | 05:05 | Select the transition, type Ctrl+D.
That opens up the Duration Dialog, and I
| | 05:10 | change that closing transition, so
it does a slow fade the black over two
| | 05:14 | seconds, looking like this.
| | 05:15 | (Music plays.)
| | 05:19 | And we have got the audio and the
| | 05:20 | video fading smoothly together. Now in
our particular case, when we start to
| | 05:24 | add keyframes, I want to add keyframes
without the transitions in place. So we
| | 05:29 | will be working with this particular
sequence, without the transitions that we
| | 05:33 | added using Command+T. But I have left
the transitions on. So you're able to
| | 05:37 | see the difference of how they are
going to look. What we have just done is we
| | 05:40 | have added transitions to our sequence.
Now we get to actually start to change
| | 05:44 | the size and position of our images.
We're finally getting into the point where
| | 05:47 | we're moving our images and that is next.
| | Collapse this transcript |
| Adjusting motion parameters in the Canvas| 00:00 | It seems like we're forever in the planning and
preparation stage, and nothing is actually moving.
| | 00:04 | Well, we're getting closer and closer.
Really, I promise. Because now we want
| | 00:08 | to start adjusting our images in the Canvas.
| | 00:10 | The Canvas allows us intuitive
interactive adjustment of our images.
| | 00:14 | We can adjust scaling, that is to say, it's
size, rotation of the image, position, cropping,
| | 00:19 | distortion, which some people would call
corner pinning, and the anchor point.
| | 00:24 | The disadvantage to adjusting images in
the Canvas, is that it's not very precise.
| | 00:28 | If we need precision, we need to use the
Motion tab in the Viewer, which is what we talk
| | 00:32 | about in the next movie, but let's take a
look first that how we can adjust our images
| | 00:37 | in the Canvas and as usual,
we switch back to Final Cut.
| | 00:41 | Now I have loaded this image.
| | 00:42 | Notice it's in the Canvas.
| | 00:44 | The first thing that you need to do is to go to
this top right pop-up, and make that it switches
| | 00:48 | from Image, which is its default poison, to
Image and Wireframe. And when you do that,
| | 00:54 | and then select an image in the Timeline,
| | 00:57 | notice that the cyan box appears around the image.
| | 01:00 | If you don't see it on your system, go to this
first pop-up and set it to a size smaller,
| | 01:06 | so that you can see the gray
area around you image.
| | 01:09 | For me, it works around 50%
and I can see that cyan box.
| | 01:13 | If we grab the white dot in the corner and
drag, we can scale the image smaller in size.
| | 01:19 | If we grab near a white dot, but not on
the white dot, we can rotate the image.
| | 01:25 | If we grab anywhere near the center of
the picture, we can change its position.
| | 01:31 | If we rotate the image while holding the Shift
key down, it rotates in 45-degree increments,
| | 01:37 | which makes it easy for us to
set it at a particular angle.
| | 01:41 | If we scale it while holding the Shift
key down, it scales asymmetrically.
| | 01:45 | We can change it to whatever size we want.
| | 01:47 | If we don't hold the Shift key
down, it scales symmetrically.
| | 01:53 | Now you would think that how could we possibly
want to do more than change its size, change
| | 01:58 | its rotation, or change its image?
| | 02:00 | Well, just with the Arrow
tool, that's all we can do,
| | 02:02 | but there is other tools in
the Tool palette we can use.
| | 02:05 | If we go down to the second last
tool, notice this Cropping tool here.
| | 02:10 | When I select the Crop tool and grab an
edge, I can crop in one side of the image.
| | 02:16 | You have noticed by now that this is upside down.
| | 02:19 | So we will just -- Whoops
Crop the other side of the image.
| | 02:23 | Got to select the Arrow tool and then rotate
it so our butterfly knows which way to fly.
| | 02:28 | (Laughing.) It'd be terrible to have it
take off and crash into the ground. Anyway.
| | 02:32 | Now if we hold the Shift key down while
selecting the Crop tool, the Shift key.
| | 02:39 | Notice that I can scale both, and I
grab a corner, I scale symmetrically.
| | 02:44 | If I grab a corner without
holding the Shift key down,
| | 02:48 | I can scale asymmetrically.
| | 02:50 | If I hold the Option and the Command
keys down, I scale symmetrically.
| | 02:54 | Notice how it's going to right on
that, staying in an 4x3 aspect ratio.
| | 02:58 | So the other thing we can do is,
do what's called corner pinning.
| | 03:02 | I select this second tool.
| | 03:04 | I hold down the Crop tool and just keep
holding the mouse and selected the Distort tool.
| | 03:08 | I'm going to make this smaller
to make this easier to see.
| | 03:12 | I'm going to grab this corner and drag it,
and notice that I'm now distorting the image,
| | 03:17 | and making it look like the butterfly is
being projected on oh, the side of a building
| | 03:23 | or a truck moving down the street.
| | 03:27 | So there is our butterfly corner pin.
| | 03:31 | Well, the cool thing about this is that
we can easily rough in an idea. I'll do Undo
| | 03:36 | until we get this all back again here, here we go.
| | 03:38 | This is very easy to rough in an idea to adjust
the scaling and the size, even the rotation.
| | 03:44 | Notice here with rotation, if I'm on the Arrow
tool and I rotate, notice that it rotates
| | 03:48 | around the center, which is
represented by that white dot there.
| | 03:52 | In fact, if you look above the
white dot, you see the number two.
| | 03:55 | That number two refers to
the layer the clip is on.
| | 03:57 | If I go over to this clip and
select it, notice it's number one.
| | 04:02 | Meaning it's a clip on layer one,
or here, it's a clip on layer two.
| | 04:06 | But that white dot is more than simply marking
the intersection of those two diagonal lines.
| | 04:11 | It's doing more than just
marking the center of the clip.
| | 04:13 | That white dot is actually the anchor point.
| | 04:16 | If I grab the distortion tool,
remember it's this one right here.
| | 04:20 | If I grab the Distort tool and I grab that white
dot and I drag the white dot in some direction,
| | 04:28 | what I have done now is I have changed
the area, I have changed where it rotates.
| | 04:33 | So that now as I grab this clip and
rotate it, it rotates around the white dot,
| | 04:39 | right here. Let's try that and drag it further.
| | 04:44 | So now it's rotating around the white dot.
| | 04:47 | So the area around which it rotates
and the area around which it scales
| | 04:54 | is all based on that anchor point.
| | 04:56 | By definition, the anchor point is in the
center of the frame, but it doesn't have to be.
| | 05:01 | You can move the anchor point
with the Distort tool.
| | 05:04 | Well, this is all well and good, except
it only creates things picture in picture.
| | 05:08 | I can't actually move my stills.
| | 05:10 | To move my stills, and to move them with
precision, I have to work somewhere else.
| | 05:15 | That somewhere else is the
Motion tab in the Viewer,
| | 05:17 | and we will talk about the Motion tab next.
| | Collapse this transcript |
| Adjusting motion parameters in the Motion tab| 00:00 | The Motion tab is where I do all of my work
| | 00:03 | because the Motion tab allows me
greater precision in creating effects.
| | 00:06 | It also allows resetting a specific
parameter to its default setting.
| | 00:10 | Something that I can't do in the Canvas.
| | 00:12 | As well as the ability to set keyframes.
| | 00:15 | We can adjust ten settings in the Motion tab.
| | 00:17 | Scaling, that's size, rotation, the center
position, anchor point, cropping and distortion.
| | 00:22 | Those are the six that we
can do inside the Canvas.
| | 00:25 | However, we can also control
opacity, drop shadow, motion blur
| | 00:29 | and time remapping all from the Motion tab.
| | 00:32 | Let me show you how it works.
| | 00:34 | I have opened up a sequence
called FCP 06 Motion tab.
| | 00:37 | It's exactly the same as the FCP 05 Canvas,
but we're in a different spot of the program,
| | 00:43 | so I thought I would create a different
sequence just to cheer us all up.
| | 00:46 | This time, to load a clip into the Viewer,
you double-click on a clip in the Timeline.
| | 00:51 | That loads it up into the Viewer.
And you click on the Motion tab
| | 00:54 | because the Motion tab is
where we change Motion effects.
| | 00:58 | Also get in the habit of putting your playhead
in the middle of the clip that you are adjusting
| | 01:02 | because that way you're able to see the results
of the changes you're making in the Motion tab.
| | 01:08 | We can change scaling in the
number of different ways.
| | 01:10 | We could grab the Scale slider and drag it.
| | 01:12 | Make it bigger and smaller.
| | 01:14 | We could click on these right and left
pointing arrows and make it bigger and smaller.
| | 01:19 | We can put our playhead in the middle here
and just use the scroll wheel on our mouse
| | 01:23 | and you can scroll up and down to make
this picture the size that you want
| | 01:26 | or you can simply click in this text entry
box and type in the size that you want.
| | 01:31 | Notice that we're only scaling this image
to be 40% of its usual size and that's
| | 01:35 | because remember we created the
image to be bigger than full size.
| | 01:39 | This gives us the ability to zoom in and
zoom out and if it was set at 100% size,
| | 01:44 | if we zoomed in, it would look ugly.
| | 01:46 | For instance here, let's set this to a 100%
and notice that we still see nice detail.
| | 01:51 | Set this to 100% to, notice that we
still get good detail on the wings
| | 01:55 | of the butterfly, but if I zoom into a 1000% okay.
| | 01:59 | I don't see any additional detail.
| | 02:01 | I just see blockiness and
artifacting and ugly weirdness
| | 02:06 | and ugly weirdness is not
what we're trying create here.
| | 02:08 | We are trying to create beauty on the hoof.
| | 02:10 | so that's where we're headed, so let's
just reset this back to full size here.
| | 02:16 | So we can adjust scaling in a variety of
different ways and just as we can adjust the size
| | 02:20 | of the picture, we can also rotate the picture
by simply grabbing the hands of the clock
| | 02:24 | and indicating which way we want it to rotate
or by typing in the angle we want it to be.
| | 02:31 | Counterclockwise is negative,
positive is clockwise.
| | 02:34 | We can indicate how many times we want it to
rotate by simply dragging around the hands
| | 02:39 | of the clock and rotate this as
many different times as we want.
| | 02:44 | Reset it. We can reset either by clicking
to 0 or by clicking this red X in the circle.
| | 02:50 | This red X's in the circle
are all of your Reset buttons.
| | 02:53 | We can change the center position
in one of two ways.
| | 02:56 | One is to click this crosshair and then click, hold,
| | 03:00 | and drag the picture wherever we want it to go.
| | 03:03 | Whenever I see these crosshairs, I always use them.
| | 03:06 | I simply click, turn the color.
I will click, hold, and drag.
| | 03:10 | If you click and then click
and let go, notice it resets.
| | 03:14 | So once you have changed the color of the
cross here, you need to click your mouse once,
| | 03:18 | keep the mouse button hold down and
then drag it wherever you want it to go.
| | 03:23 | The left-hand box controls horizontal position.
| | 03:26 | The right-hand box controls vertical position.
| | 03:28 | Moving to left is a negative
number; notice the image moves left.
| | 03:32 | Moving right is a positive number.
| | 03:35 | Notice the image moves right.
| | 03:37 | Moving up is a negative number and image moves up.
| | 03:40 | Now, you would think Apple had attended Geometry
in high school because the Y-axis is up positive
| | 03:47 | and down negative but no, no, no. Somebody
was napping in math class because they set left
| | 03:52 | and right correctly. Negative is left,
positive is right, but up and down is backwards.
| | 03:58 | Up is negative and positive is down.
| | 04:01 | So that means if you wanted an image
to move to the upper left corner,
| | 04:05 | you'd type in a negative number
and a negative number.
| | 04:09 | To move to the lower right corner you type
in a positive number and a positive number.
| | 04:15 | So up left negative, negative, down
right positive, positive and to reset,
| | 04:20 | to put the image in the center is 0,0.
| | 04:23 | Remember, I said the anchor
point is where an image rotates,
| | 04:26 | well we could dial in this specific
anchor point here or we could click on --
| | 04:31 | Let's make this a little bit bigger here.
Again we could use this in conjunction
| | 04:35 | with the Distort tool, and show Image
and Wireframe, and use the Distort tool
| | 04:41 | to drag the anchor point wherever
we wanted it to be.
| | 04:44 | In our particular case, I'm just going to
click the red X in the circle and reset.
| | 04:48 | Another thing we can control is cropping.
| | 04:50 | We could crop by grabbing the edge of
the object and dragging in or we can crop
| | 04:55 | by grabbing the slider and cropping in the left
side or the right side, the top or the bottom
| | 05:02 | and the other thing that we
can do inside the Motion tab
| | 05:04 | that we can't do inside the Canvas
is soften the edges by feathering.
| | 05:09 | Notice how they got softer here. By grabbing the
Edge Feather you can drag and soften the edges
| | 05:15 | of a crop. To reset again, the red X in the circle
| | 05:18 | and to hide it click the disclosure
triangle, so it rotates back up.
| | 05:22 | Same thing with the Distortion, except here
I really wish that it given some target,
| | 05:26 | some Xs here. Distortion is actually faster
to do inside the Canvas and grab the corners
| | 05:32 | and drag them wherever you want and
then tweak them by adjusting the number.
| | 05:36 | Remember the left-hand number's the
horizontal position of that particular corner
| | 05:40 | and the right hand number is the vertical
position of that particular corner
| | 05:44 | and we will adjust reset and...
| | 05:50 | Whoops.
| | 05:54 | Click the red X in the circle to
reset that back to its default
| | 05:58 | and twirl the Distort setting back up again.
| | 06:01 | Opacity is another with the
setting we can adjust inside Motion
| | 06:04 | to view the Opacity we twirl it down,
but in order to adjust the Opacity
| | 06:08 | of a clip remember you must double-click it
to load it from the Timeline into the Viewer.
| | 06:13 | You always double-click clips to load them from
the Timeline into the Viewer. At that point twirl
| | 06:18 | down the Opacity setting and drag
the Opacity slider and notice
| | 06:23 | that we can make it more or less transparent.
| | 06:26 | I'll give you better example of this.
| | 06:28 | If I click on the butterfly and
double-click it to load it up into the Viewer
| | 06:31 | and grab the Opacity sliders to see how we're
able to superimpose one image on the other.
| | 06:38 | Most of the time I don't adjust Opacity, here we
can adjust Opacity inside the Timeline by clicking
| | 06:44 | on this black mountain range
here called Clip Overlays.
| | 06:48 | At the top of every clip is a black
line that allows me to bring it down
| | 06:52 | and see the Opacity changing as I let go.
| | 07:00 | I can see that two clips superimposed
on top of each other.
| | 07:03 | If you ever need to reset the Opacity,
| | 07:05 | double-click the clip to load
it up into the Viewer.
| | 07:07 | Click the red X in the circle and
your clip is back to normal again.
| | 07:11 | Drop shadows, motion blurs and
time remaps are not really involved
| | 07:14 | with still images unless you
wanted to have a still image
| | 07:17 | with a drop shadow over another image.
| | 07:19 | So here we would select it.
| | 07:20 | Let's make it 20% size and pull
that up here so we can see it.
| | 07:25 | Turn On Drop Shadow.
| | 07:26 | I notice there is a very faint drop shadow.
| | 07:29 | That setting works reasonably well
for text, but not good for images.
| | 07:33 | So we checked the Drop Shadow to turn it
on, we twirl down the Drop Shadow setting
| | 07:37 | and let's just increase the Offset and notice
| | 07:40 | that now our drop shadow separates
more from our object.
| | 07:44 | The Angle of 135 degree is a good angle,
I would suggest leaving that alone,
| | 07:48 | but the Softness needs to be a lot softer.
| | 07:50 | So let's improve the Softness here and let's
just decrease the Opacity just a little bit
| | 07:55 | and now notice how we have
got that nice drop shadow.
| | 07:59 | Switch this back to image so we can get
rid of some of those lines on screen.
| | 08:03 | See how we have got this nice drop shadow that
separates the top image from the bottom image.
| | 08:08 | Prior to the version 6 of Final Cut, the Drop
Shadow settings were designed more for images
| | 08:13 | and the drop shadows for images
than they were for text.
| | 08:16 | With the release of Final Cut 6 the drop
shadows are much better for text and not as good
| | 08:20 | for images. You can't have a
perfect drop shadow for both.
| | 08:23 | So when you're changing your drop
shadow, you want to increase the Offset
| | 08:27 | and also increase the Softness compared to
the default and it will look a lot better,
| | 08:32 | as it does here on our particular example.
| | 08:34 | Motion Blur, I recommend you stay
away from with a ten foot pole.
| | 08:37 | It so increases render settings and
so, so ugly that we don't even want
| | 08:43 | to talk about it in polite company.
| | 08:45 | It's nice that it's here. I'm sure
its mother's very proud of it,
| | 08:47 | but we want to do motion blurring
inside Motion, not inside Final Cut.
| | 08:51 | Also with time remap, that's a speed change to a
clip but these clip aren't moving to begin with.
| | 08:57 | So motion blur and time remap are two things
we are not going on work on in this title.
| | 09:01 | So we can adjust the settings for our clips in the
Canvas, which is fast, intuitive, and simply grab
| | 09:06 | and drag it where you want or adjust with much
more precision and the ability to reset back
| | 09:11 | to a default inside the Motion tab.
| | 09:14 | I'm a huge fan of doing all of my
effects inside the Motion tab and that's
| | 09:18 | where we're going concentrate our
time for the rest of this title
| | 09:20 | because the Motion tab has two
parts, the first is the setting side
| | 09:25 | and the second is the keyframe side and it's
keyframes that allow us to add the magic of motion
| | 09:31 | to our images and keyframes are finally next.
| | Collapse this transcript |
| Working with Keyframes pt. 1: Zoom In, Rotate Around, and Pan| 00:00 | Probably nothing intimidates people
the way keyframes intimidate folks.
| | 00:04 | I remember when I was first
learning Final Cut many years ago,
| | 00:07 | I could not get my brain wrapped around keyframes.
| | 00:10 | It took me years to realize that there's
really a simple definition for a keyframe.
| | 00:15 | A keyframe is used to create
a change during playback.
| | 00:18 | If nothing changes then you don't need keyframes.
| | 00:21 | If all you're doing is playing
full screen video clip after clip
| | 00:24 | after clip, you will never use a keyframe.
| | 00:27 | But if you want one of those pieces of video
to change size during playback then you need
| | 00:31 | to use keyframes and you always
use keyframes in pairs.
| | 00:37 | Virtually every parameter in Final Cut can be
keyframed, every filter, every motion effect.
| | 00:42 | Even audio levels can be keyframed.
| | 00:44 | Everything that is except transitions and while
keyframes can be adjusted in the timeline,
| | 00:50 | and I recommend that for opacity
levels and audio keyframes,
| | 00:54 | I prefer to use the Motion tab where I can see
all my settings at once and make changes quickly.
| | 01:00 | Let's stop talking about keyframes and for
the first time let's take these still images
| | 01:04 | and bring them to life and we will do
that using keyframes inside Final Cut.
| | 01:09 | Now, there are two ways that we could do this.
| | 01:11 | One is I could show you how to put in
keyframes and take it step by step,
| | 01:15 | but I think it probably be more
helpful to show you where we're headed.
| | 01:18 | So this is the finished piece
it's in PCP - 07 Keyframes.
| | 01:23 | It's Seq - 3.
| | 01:24 | It's everything complete with only one exception,
which we will talk about in the next movie.
| | 01:28 | This is where we're headed.
| | 01:31 | Now, you will notice that we have
dissolves on here and we have got moves
| | 02:14 | on here, but the moves are added first.
| | 02:33 | We stack these clips up and that makes it
easier to add keyframes and the last step
| | 02:42 | of the process is adding the transitions,
but because we have already compensated
| | 02:46 | by putting the handles in adding the
transitions not going mess our keyframes up.
| | 02:51 | So let's go back here and what I
have done is I have added markers
| | 02:54 | and each marker indicates what we
want to do is the effect on that clip.
| | 02:58 | To add a keyframe to a clip, we double-click it.
| | 03:00 | That loads it up into the Motion tab.
| | 03:04 | No, actually it loads it into the
Viewer and then we click the Motion tab,
| | 03:07 | if you want to be pedantic about it. And
notice that the Motion tab now has two sides.
| | 03:12 | It has the Setting side on the left
and the Keyframe side on the right.
| | 03:17 | If within the Motion tab you type Shift+Z,
it automatically scales the keyframe side
| | 03:22 | so it will fit inside the Motion window.
| | 03:25 | I'll make the window bigger just
to prove this and type Shift+Z.
| | 03:28 | See how it expands the size of the clip?
| | 03:30 | That which is gray, light gray, is the clip.
| | 03:33 | That which is dark gray is
that which is outside the clip
| | 03:36 | and the bright white line indicates the out.
| | 03:39 | Just as a bright white line that indicates the in.
| | 03:41 | I will just resize this and get it to
fit back in the window that we've got.
| | 03:47 | Shift+Z to rescale.
| | 03:49 | Remember all of these images
were 1800x1350x72 and when we go
| | 03:54 | to the Scale, notice they're all scaled to 40% size.
| | 03:58 | Well, scaling to 40% size that
means that I have got plenty of room
| | 04:01 | to increase the size of this if I want to.
| | 04:04 | Well in this case the first thing that I want
to do, according to my note here, is I want
| | 04:08 | to have it zoom in. Because I
wanted to change during playback,
| | 04:12 | I have to use keyframes and because I
always use keyframes in pairs that tells me
| | 04:17 | that I'm probably going to need the
set two keyframes: a starting position
| | 04:20 | and an ending position.
| | 04:22 | So we create keyframes by clicking on
this open diamond here and because I want
| | 04:27 | to change size the keyframe
goes with the Scale setting.
| | 04:31 | So I set a keyframe.
| | 04:32 | Notice if it's hollow, there is no keyframe there.
| | 04:35 | If it's green solid centered, there is
a keyframe to add it or to delete it.
| | 04:40 | You just click this central button here.
| | 04:43 | So we have now added a keyframe,
let's go to the end.
| | 04:46 | Now, I could drag the playhead all the way to the
end and trying to figure out where the heck it is,
| | 04:49 | but here is a nice keyboard shortcut.
| | 04:51 | To jump to the end of a clip, make sure
the Viewer is selected and type Shift+O.
| | 04:56 | That jumps it to the out of a
clip and to get to the beginning
| | 04:59 | of our clip, Shift+I jumps you to the in.
| | 05:02 | Shift+O to the end, and Shift+I to the in.
| | 05:05 | So we go Shift+O to get to the end
of a clip, but I have a problem.
| | 05:09 | I can't see the end of the clip.
| | 05:11 | There is a butterfly in the way.
| | 05:13 | So how do we fix that?
| | 05:14 | Well, we could start to delete clips or slash our
wrists or run around in small circles screaming
| | 05:19 | that life is just not fair, but the
advantage of doing this two layer approach
| | 05:23 | to our image montage, is to if I turn off
the visibility light, it's going to warn me
| | 05:29 | if I lose render files I'm going to click Continue
because there is no render file I care about.
| | 05:33 | Notice that I have turned off every clip on this
track and I can now see every clip on this track.
| | 05:38 | It now becomes an easy toggle to go between
turning on and turning off the clips
| | 05:43 | and I can now easily see the end of the clip
and that's the reason we put the handles in,
| | 05:48 | because now I'm going to put my
keyframe at the end of my transition
| | 05:52 | because remember the transition
loops on the handles.
| | 05:55 | I'm not stumbling over my feet, setting a keyframe
and then playing it and realizing it's wrong
| | 06:00 | and then setting it no, no, this is
a much more efficient way to work.
| | 06:03 | Where do I want to zoom in?
| | 06:04 | Well, let's zoom in, set a keyframe and zoom in
to a 100% and that's where we're going to zoom.
| | 06:10 | When we hit the Home key and play it back.
| | 06:12 | We have got a nice smooth zoom
to the center of the image.
| | 06:16 | Now, I'm going to show you how to zoom
to somewhere other than the center.
| | 06:21 | Just turn on the visibility light.
| | 06:23 | Let's go to our second marker.
| | 06:24 | We jump to a marker by doing Shift+M.
| | 06:27 | Shift+M takes you the next marker.
| | 06:29 | Option+M takes you the previous
marker and here we want
| | 06:33 | to rotate this image around
the center Anchor Point.
| | 06:36 | Well, there is our Anchor point right
there and we want to rotate around it.
| | 06:39 | As always double-click the
image to load it to the Viewer
| | 06:42 | and what do we want to do, we want to rotate.
| | 06:44 | So where do we set keyframes.
| | 06:45 | We set keyframes for Rotation and my
playhead is at the beginning of the clip.
| | 06:49 | If it wasn't, I would type Shift+I and I set a
keyframe for Rotation and I want to go to the end
| | 06:55 | of the clip, Shift+O and set
a keyframe there as well.
| | 06:58 | Now, in this particular case I don't
want my butterfly to start right side up.
| | 07:02 | I want my butterfly to start upside down.
| | 07:04 | So I'm going to rotate it a 180 degrees, boom.
| | 07:08 | We have an upside down butterfly.
| | 07:10 | Poor thing, it's going to take off
the flower and slam into the ground
| | 07:13 | because it's pointing in the wrong direction.
| | 07:14 | We have to save the life of this butterfly
and to do that we go to the out and I wanted
| | 07:20 | to start 180 degrees out and go to 360 degrees.
| | 07:25 | Now, when we play this back, watch what happens.
| | 07:28 | The butterfly starts rotating.
| | 07:30 | We have a killer rotation,
but we also have a problem.
| | 07:33 | We are, as they say technically
shooting off the edges of the set,
| | 07:38 | so that means that I can't be at a 40 % zoom.
| | 07:41 | Can I?
| | 07:41 | No.
| | 07:42 | I have got to be something
a little bigger than that.
| | 07:44 | So I'm going to use the scroll
wheel on my mouse and zoom in.
| | 07:48 | Let's set it to about to 65% and now let's
play it back and there is our rotating.
| | 07:57 | Oops!
| | 07:58 | Got just a little bit here, if you notice
right down here, we're shooting off the edge
| | 08:03 | of the set also with the top corner.
| | 08:05 | So we will just kick this up a bit.
| | 08:07 | There we go, 67% would fix that.
| | 08:10 | Notice, we're not shooting off the edge.
| | 08:12 | But why don't I set keyframes for Scale, because
I'm not changing the Scale while I'm rotating.
| | 08:18 | So if I'm not changing something
you would never use keyframes.
| | 08:21 | You only use keyframes when something
changes the scale is not changing,
| | 08:26 | therefore no keyframes are necessary, and we have
a rotating butterfly and the cool part of it is,
| | 08:32 | now when I turn this off, the
butterfly goes right to this flower.
| | 08:36 | Remember the flower starts on
the right edge of the frame
| | 08:39 | and pans left into the center of that flower.
| | 08:42 | I wish I was more of a biology person, I
would give you the technical biological term
| | 08:46 | for the center of the flower, but we're
going to go to the center of the flower.
| | 08:51 | Knowledge is a dangerous thing and
it's one of my strengths is knowing
| | 08:58 | so much about the biological science.
| | 09:00 | Anyway, we're going type Shift+I to go to the in.
| | 09:02 | By the way if you ever see this it's
because I hit the Caps Lock key by mistake.
| | 09:05 | This is back when we're rendering on G3s and G4s
| | 09:09 | and the rendering would take forever,
allows us to turn off rendering.
| | 09:12 | If you ever hit it, just press the Caps
Lock key again and nobody gets hurt.
| | 09:16 | So we're at the in, now what we want
to do, we want be tight on this flower
| | 09:21 | and do an extreme tight pan from the right edge of
the shot, the left edge of the shot panning left.
| | 09:27 | That means we're changing the position.
| | 09:28 | So we're going to set a keyframe for
Center, but I want to be tighter.
| | 09:31 | So let's go to a 100% feels too
tight, let's 90% feels gooder (ph).
| | 09:37 | 'Gooder' is a technical term that's used
amongst the cognoscente to indicate that we're
| | 09:42 | in a better position than
we were before, gooder so.
| | 09:45 | We are going to move from the
start to the end of the shot.
| | 09:48 | So we're going to do Shift+O and click there.
| | 09:52 | Click the Center command and
say where is my ending position.
| | 09:55 | My ending position is right
there, that's where I'm going end.
| | 09:58 | I love stuff that's off-center,
I hate stuff that's always
| | 10:02 | in the dead center, just boring and dull.
| | 10:06 | Go back to the first keyframe.
| | 10:07 | I'm navigating by clicking out this left
and right pointing arrows here by the way.
| | 10:13 | There is my edge of the picture, and I don't
want to go off the edge, so we will start right
| | 10:18 | about here and sort of follow
that curve at the yellow line.
| | 10:22 | So now when I play this, there is our flower
and we're panning over and ending up right
| | 10:29 | on the dramatically placed
center of the flower, cool.
| | 10:33 | There is a lot more to cover with keyframes,
but let's save our work here and end this movie
| | 10:39 | so you can think about what we have covered.
| | 10:40 | We are going to use this exact same exercise
file at exactly this point in the next movie.
| | Collapse this transcript |
| Working with Keyframes pt. 2: Zoom Out, Tilt Up, and Apply a Blur Filter| 00:00 | This section starts with exactly the same
exercise files we worked with in the last movie,
| | 00:05 | picking up right where we left off, because there
is a lot more we can talk about with keyframes.
| | 00:09 | For instance, take a look at this.
Let's see what our next marker says.
| | 00:13 | Our next marker says that we want
to on track 2, rotate and zoom out.
| | 00:18 | Now this one is a tricky one.
| | 00:20 | And watch how this works.
This gets to be really exciting.
| | 00:22 | Double-click the clip to load
it up into the Viewer.
| | 00:25 | We want to have it rotate around the
anchor point, but we want the anchor point
| | 00:28 | on the head of our butterfly here.
| | 00:30 | But the easiest way to move the
anchor point is with the Distort tool.
| | 00:34 | The Distort tool, keyboard shortcut letter D,
click the Distort tool and grab the anchor point
| | 00:40 | and drag it where you want it to go,
except we're getting this weird movement.
| | 00:44 | Why is it moving weirdly?
| | 00:45 | And the answer is I'm going to undo
that, the anchor point is not only
| | 00:51 | that which this rotates around, it's
also the point around which it scales.
| | 00:56 | And because I'm scaled to 40%, changing the anchor
point changes the scale point where it's going
| | 01:02 | to zoom to -- let's show you
then talk about it, watch this!
| | 01:06 | Okay, if I make this really,
really small, there's my image.
| | 01:10 | The cyan indicates the whole image
and I'm looking a close-up of it.
| | 01:14 | If I grab the anchor point and drag it
down to this corner just by grabbing it
| | 01:18 | with the Distort tool and
dragging it and rotating it.
| | 01:21 | Now look at what happens.
| | 01:23 | Notice that it's rotating around the image.
| | 01:25 | This is a cool way to get an image to sort of flow
through the screen, is to set the anchor point
| | 01:30 | and we have the butterfly
flowing through the screen.
| | 01:33 | Well, I don't want to have the butterfly
necessarily rotate its way to the screen,
| | 01:37 | so I'm going to move the anchor point again, click
on it, and I'm just going to drag not the corner,
| | 01:42 | no, no, no. I want the anchor point.
| | 01:45 | With the anchor point there
and that was the Distort tool.
| | 01:48 | If you want to reset something click the red
X in the circle, it allows me to reset it.
| | 01:53 | Sometimes the anchor point in
the corners just gets in the way.
| | 01:56 | I'm going to drag the anchor point over.
| | 02:00 | Sometimes working on high-def is easier.
| | 02:02 | Because I've got more of a picture to work with.
| | 02:04 | All right, grab the anchor
point, drag it to the top
| | 02:07 | of the beautiful bug right
there, that's our anchor point.
| | 02:11 | Now when we rotate, notice that we're rotating
right around the head of the butterfly.
| | 02:15 | It's the rotation point, it's
also the scale point.
| | 02:19 | If I change the scale, notice that we're zooming
based upon the position of the anchor point,
| | 02:24 | which is at the head of the butterfly.
| | 02:25 | It is a little bit hard to understand but
if you play with the anchor point a bit,
| | 02:29 | notice that it's not only the
area around which you rotate,
| | 02:32 | it's also the area around which you scale.
| | 02:35 | So let's set this and what we wanted to do, set
that to 40%, set this to 0, get ourselves reset,
| | 02:42 | and click the Center command and just
drag everything back to were it blocks.
| | 02:47 | Okay, good, Shift+Z.
| | 02:50 | Shift+Z automatically expands stuff,
so it looks the way we want it to look.
| | 02:54 | So I will twirl down the Distort tab, then
just reset in the aspect ratio to - 12.5.
| | 03:00 | What we want it to do is we want
to rotate around the animal,
| | 03:04 | but we don't want to shoot off the
edges, so this becomes really tricky.
| | 03:08 | First we had to move the anchor point then we set
a keyframe for rotation and a keyframe for scale,
| | 03:16 | and we start by rotating let's say - 180
degrees, and we're going to change the center
| | 03:24 | and let's change the Zoom first though.
| | 03:27 | Zoom in, there we go, about 65%.
| | 03:30 | And then we're going to go to the end,
Shift+O, and set where we want this
| | 03:37 | to finish rotating to, right side up.
| | 03:40 | And now let's just take a look at this.
| | 03:42 | Because the anchor point changes everything.
| | 03:45 | So the first thing we have to do is
we're going to have to zoom in enough
| | 03:48 | to hide the effect that those
corners were showing.
| | 03:51 | And as long as we're less
than 100%, we will be Okay.
| | 03:55 | So now we rotate and at this point we will now
pass where those edges are going to be shot off
| | 04:02 | because I remember we're right
at the corner of where
| | 04:05 | that image is right here, see our image edge.
| | 04:09 | So I'm going to set another keyframe
for scale right at this point.
| | 04:14 | This means that my image size is not
going to change for these first keyframes.
| | 04:19 | It's going to stay at 100% the whole time and
it goes 100% until we hit the second keyframe.
| | 04:26 | Then when we get to the end,
I'm going have it scaled
| | 04:29 | down to be say, 40%, so let's see how this looks.
| | 04:34 | Just practice this here.
| | 04:36 | We've got it rotating and it stays
tight, it hasn't started zooming yet.
| | 04:39 | It's just rotating and now it zooms back
and we see our butterfly in its full glory.
| | 04:46 | So we don't have to have our keyframe start
at the beginning, our keyframe is going
| | 04:51 | to start anywhere, and in this case dissolve
the problem of shooting off the edge,
| | 04:56 | I delay the zoom out until we were far enough
along in the image that we weren't going
| | 05:01 | to shoot off the edge of the
set, the image in this case.
| | 05:05 | And there is our rotation right around the
head of the butterfly and then we zoom back,
| | 05:11 | and at that point we're going to start to dissolve
to the next shot, so we will turn this off,
| | 05:16 | and our marker says option M, tilt up!
| | 05:19 | Okay, here we have got a problem, the
problem is it's a vertical shot and I don't
| | 05:23 | like seeing the black on either side.
| | 05:25 | So what I'm going to do is not zoom, I'm going
to start low and just do a nice steady tilt up
| | 05:31 | and we have specifically designed
the shot for this,
| | 05:34 | it's exactly a full-screen
wide, but it's two screens high.
| | 05:38 | Double-click and set this to 100%, and set a
keyframe at the beginning for Center and drag
| | 05:47 | so we see the bottom of our image, and
verify that we're at the right spot,
| | 05:52 | by making sure the Center, remember
this controls horizontal position,
| | 05:55 | I don't want it to move horizontally
so that sets to 0 and -236.
| | 06:00 | Well, having measured this, I know that
it's -240 so I can deal with that.
| | 06:05 | The dead center of a frame in Final Cut is 00,
so if -240 takes me all the way to the bottom,
| | 06:12 | then Shift+O, keyframe, then +240
takes me all the way to the top.
| | 06:18 | I don't even have to measure it.
| | 06:20 | I know that's the case, because
everything is centered
| | 06:23 | around the 00 point, which is in the center.
| | 06:26 | As I play this, here's our tilt
up, a nice Celtic birdbath.
| | 06:35 | Very cool!
| | 06:36 | Now, let's take a look at the next one.
| | 06:37 | Turn on the Visibility Light
for this track, and this one,
| | 06:41 | I didn't add a Marker, Oh, this is a tilt down.
| | 06:45 | So we will go to the beginning of the clip,
double-click it, we have already seen how to deal
| | 06:48 | with this vertical thing, we go 100%
and we set a Center keyframe at the top
| | 06:54 | and I know the numbers, the size is the same.
| | 06:57 | So it's 240, which takes us
to the top and Shift+O.
| | 07:01 | And here's another cool secret.
| | 07:02 | You don't have to set the keyframe first.
| | 07:04 | If you have already got a keyframe for that
parameter, just change the parameter either
| | 07:08 | by moving it or typing in a number.
| | 07:13 | And notice what happens, there's
our shot going down.
| | 07:23 | There's our shot going up,
there's our shot coming down.
| | 07:27 | Now because it's the same flower,
when I go to this flower,
| | 07:31 | let's turn off the-- I'm tilting down.
| | 07:35 | So here I want to do the same thing.
| | 07:39 | I want to continue tilting down.
| | 07:41 | Shift+I to get to the end, set the scale
to 100%, and we already know the numbers.
| | 07:47 | It's 240 to go the top and set a
keyframe, go to the end, Shift+O.
| | 07:53 | On this we're going to add a Filter, so we
select it, Effects > Video Filter > Blur,
| | 07:59 | just because we haven't, Gaussian Blur is
always the best blur to use by the way.
| | 08:02 | Double-click, and I want the blur
--Shift+O to get to the end--
| | 08:07 | I want it to blur out over
the course of 60 frames.
| | 08:11 | So on the keypad I type -60, and
that moves my playhead back 60 frames
| | 08:16 | and we will make this go way,
way, way out of focus.
| | 08:19 | So now when we play this back, it goes
out of focus and then we go to the spider.
| | 08:26 | Double-click the spider, we're going
to start in this corner and move down.
| | 08:30 | To do that, Shift+I, setting in and
let's just zoom in a bit, about 60%.
| | 08:38 | That's good, and we're going to move diagonally.
| | 08:41 | So the first position is way up here, right
against that corner, little bit bigger,
| | 08:48 | I want the spider out of the shot, here we go.
| | 08:52 | And set it so it's just, just barely in
the shot, Shift+O, set In/Out and again--
| | 09:02 | sorry I've got to select the Viewer.
| | 09:05 | I keep forgetting to do that.
| | 09:06 | Click here and set the position of our spider and
scale it back so small children are not terrified.
| | 09:13 | Actually it's their parents
that would be terrified.
| | 09:15 | Small kids play, say, hey, that's very cool.
| | 09:17 | We will put the spider right about there.
| | 09:19 | So what I'm doing here is
two things, I'm doing a zoom
| | 09:23 | out from 70-55%, and we're changing the position.
| | 09:30 | Let's see what this Marker says,
this Marker says zoom out and up.
| | 09:35 | Okay, now here I want to load this flower
in and go to the View, okay, good size.
| | 09:42 | So here we're going to zoom a lot.
| | 09:44 | We are going to take advantage of the fact that
as this gets grainy, it gets a little bit blurry,
| | 09:49 | so I'm going to take this to 120% and
shift the center so it starts right there.
| | 09:55 | It's going to be a little bit on the grainy side.
| | 09:58 | Then, I'm going to go to the end,
Shift+O, and set this to be 40% and 0, 0,
| | 10:07 | which is the center, and play it back.
| | 10:11 | And there's our flower going
and we're changing the position
| | 10:15 | so that it doesn't just stay in the center.
| | 10:19 | We are changing center by using keyframes.
| | 10:22 | And the last one we're going
to do is our little possum.
| | 10:24 | I'm going to start the possum here, and
we will do Shift+I to get to the end.
| | 10:33 | Scale and Center and Shift+O, but
this time I don't want it to end.
| | 10:37 | At the end I want it to end 3
seconds before, so on the keypad,
| | 10:41 | -90 for frames and set the Scale and the Center.
| | 10:46 | And the scale is going to be 100% and
the center is our cute little possum,
| | 10:51 | tucked a little bit offside just
to add some dynamic interest to it.
| | 10:56 | And now when we zoom, there's the
possum peeking out from the bushes.
| | 11:03 | What you have seen is a whole
different combination of using keyframes
| | 11:07 | on a checkerboarded sequence to add all kinds
of different moves to your still images.
| | 11:13 | You can see the finished piece and still images
with dissolves and you can see the keyframes
| | 11:18 | that I set by going to Sequence
2 images with keyframes.
| | 11:22 | It's a lot to cover in one movie,
but it's a tremendous amount of power
| | 11:26 | to make your still images look good.
| | 11:28 | Still there is one more thing I
want to show you which is a new kind
| | 11:32 | of control structure called Bezier controls
and we will talk about those briefly next.
| | Collapse this transcript |
| Adding Bezier controls| 00:00 | We have spent a lot of time talking about keyframes.
| | 00:02 | (Laughing.) Probably too much time,
| | 00:05 | but there's one more thing I want to
show you and that's a control structure
| | 00:08 | for keyframes called Bezier controls.
| | 00:10 | What Bezier controls allow us to do is
add curves or ramping to our keyframes.
| | 00:16 | Now I showed the formula for Bezier curves in one
of my training and looks really impressive if you
| | 00:22 | like math, but the nice thing is you don't
have to understand math to use Bezier controls.
| | 00:26 | Let me give you an example.
| | 00:28 | Here I've got this flower and what
I want to do is I want to move
| | 00:31 | from one part of the flower to another.
| | 00:33 | Well, in this case I'm not going to set my move at
the beginning, I'm going to set my move somewhere
| | 00:37 | in the middle, so I'm going to set a
keyframe for position and set it right there.
| | 00:41 | And let's just set our keyframe to 0,0,
and we will set another keyframe here.
| | 00:46 | So what we're doing is we're saying hold position
steady till we hit this keyframe and then move
| | 00:51 | from keyframe 1 to keyframe 2
and then hold it steady again.
| | 00:54 | This is a great way to have an image start moving
but not start at the beginning of the shot.
| | 00:59 | So if you're not doing a dissolved
montage you want to have it shift
| | 01:02 | in the middle, this is the way you do it.
| | 01:04 | Okay, so let's set the position we click
across here, we drag this up here, we go there,
| | 01:09 | we go down to this side and click
the crosshair and we will go
| | 01:12 | down to that corner right about there.
| | 01:15 | Now when we play this, the flower starts,
| | 01:18 | in a nice straight line moves
down to the side and stops.
| | 01:22 | Just ducky.
| | 01:23 | Let's take a look at what's going on here
by going up to this third pop-up menu.
| | 01:27 | Set it to Image and Wireframe.
| | 01:28 | That dotted line refers to the motion path and the
green dots at either side are called keyframes,
| | 01:35 | that's our starting position
and our ending position.
| | 01:37 | Starting position is a circle;
the ending position is a rectangle.
| | 01:40 | Here's the secret. Control-click on the
green keyframe and set it to Linear.
| | 01:45 | If you've got the eyes of a six-year-old you'll
see two dots. One is the dark-blue dot right
| | 01:51 | about there. The other is a lighter
blue dot that's the exact same color
| | 01:55 | as the motion path, and darn
near impossible to see.
| | 01:59 | Well, if you can find it, grab it and
drag it, and as you drag it notice
| | 02:03 | that your motion path is now turning into a curve.
| | 02:06 | If we Control-click on the other one and again set
it to Linear, grab the control path and drag it,
| | 02:12 | we can now set a nice smooth curve that moves
from one position to the next. Watch what happens.
| | 02:19 | We play it and it moves up and
curves around and comes back again.
| | 02:23 | Don't worry about the jitter.
| | 02:24 | That will go away after you render.
| | 02:26 | This is doing the best it can
without rendering first. Cool!
| | 02:31 | Okay, but let's take a closer look at this.
| | 02:33 | Notice that we have two control colors here.
| | 02:37 | Let's just drag this over. We've got
the darker dot and the lighter dot.
| | 02:43 | The outside dot controls the angle of
the curve and you can create split S's
| | 02:48 | with it, you can do whatever you want.
| | 02:50 | The inside dot controls acceleration. If
you drag the inside dot toward the keyframe,
| | 02:56 | our flower will start slowly and speed up.
| | 03:00 | Slow, slow, slow, slow,
fast-fast-fast-fast, whamo!
| | 03:03 | Slams into place.
| | 03:04 | If you grab this and drag it farther away, it
starts quickly. And if we grab the other one
| | 03:10 | and drag it slower, it's going to go fast as a
start. Fast-fast-fast-fast, slows down gently
| | 03:17 | and nestles right in for a landing.
| | 03:19 | If you don't want acceleration or
deceleration, Control-click on it and say Linear.
| | 03:24 | If you do want acceleration and
deceleration, select Ease In/Ease Out.
| | 03:28 | In that way it accelerates coming
out and decelerates coming back in.
| | 03:33 | If you want to get rid of the
curve totally, Control-click on it
| | 03:36 | and say Make Corner Point and
the Bezier control is gone.
| | 03:40 | If you ever need to create a Bezier control point
in the-- let's just see here. Move off that,
| | 03:47 | there we go, and say make a corner point.
| | 03:50 | If you ever want to make a
keyframe that's in the middle,
| | 03:53 | just simply grab the motion path and drag it.
| | 03:55 | Notice it makes the keyframe and gives
you access to those Bezier handles.
| | 04:00 | If you grab the handle, notice
that it works symmetrically,
| | 04:04 | they both move in the same direction, the
coming in point and the going out point.
| | 04:08 | If you hold the Shift key down, the
Shift key allows you to slide one side in
| | 04:14 | or out without sliding the other side.
| | 04:16 | If you hold the Command key
down, the Command key allows you
| | 04:20 | to move one side without moving the other.
| | 04:23 | And if you hold Shift and Command,
you've got complete control over one side
| | 04:28 | of the Bezier control without moving the other.
| | 04:31 | So drag both, they move in symmetry.
| | 04:34 | Shift, in and out on one side, not the other.
| | 04:37 | Command, up and down on one side but not the other,
and Shift and Command is totally disconnected.
| | 04:43 | So what we have here is the
ability to create a motion path,
| | 04:47 | that's curve add a Bezier control point wherever
we want just by grabbing and dragging up.
| | 04:53 | Change the acceleration in and the
acceleration out by the middle dot
| | 04:57 | and change the shape of the
curve by the outer dot.
| | 05:00 | One more note, once you start
to add Bezier control curves,
| | 05:04 | the movement can be a little bit flaky, so
expect to spend a little bit of time practicing
| | 05:08 | to get it to look the way you want.
| | 05:09 | It's sort of not as precise
as we would like, works great
| | 05:14 | but sometimes it's more artistic
than pixel precise.
| | 05:17 | Well just as we can add Bezier controls
| | 05:19 | to the motion path we can also add Bezier
controls elsewhere in the Motion tab.
| | 05:23 | For instance here, if I double-click
this butterfly shot.
| | 05:27 | Here's a secret tip.
| | 05:29 | You see where some of these lines are heavy double
gray lines, not all of them but some of them.
| | 05:35 | Wherever there is a heavy double gray
line, click hold-and-drag and you can make
| | 05:39 | that particular parameter a lot bigger.
| | 05:42 | So what I want to do here is I want to create a
scale effect to my Zoom, and this has got a lot
| | 05:48 | of interesting things we can do with it.
| | 05:50 | For instance here, let's scale that back
so we can see that it it's full-screen.
| | 05:55 | Let's go to that first keyframe
and set it to be 100%.
| | 05:59 | Now if I play this watch what happens on my Zoom.
| | 06:02 | Starts close up, and gets faster, faster,
faster, faster till it comes in for a landing.
| | 06:08 | That's an artifact to the way that Final Cut is
designed, it's Zoom, it's called for Linear Zoom,
| | 06:13 | as you zoom in, it gets slower and
slower and comes in for a gentle landing.
| | 06:17 | As you zoom out , it gets faster and faster
just due to the way the pixels are calculated,
| | 06:22 | it's kind of complex, but the short answer is
zoom ins always look smoother than zoom outs.
| | 06:28 | Well, what happens if I want
that zoom out, that right pixel,
| | 06:31 | this keyframe right there to move slower?
| | 06:33 | Well, if I Control-click on it-- make
this bigger yet-- if I Control-click on it
| | 06:38 | and say Smooth, it adds a Bezier
control point to that keyframe.
| | 06:42 | And now it accelerates even more slowly coming
out which sort of gives it a very fast ramp.
| | 06:51 | If on the other hand-- we will undo that-- I
Control-click on this one and set it to Smooth,
| | 06:57 | it compensates for the difference and it allows
our zooms to finish much more softly, watch this.
| | 07:03 | Accelerates and then slows down and
comes into a nice smooth landing.
| | 07:10 | So if you have ever been frustrated by how Final
Cut seems to zoom in smoother than it zooms out,
| | 07:16 | put a Bezier control point by
Control-clicking on that keyframe and it's going
| | 07:20 | to come in for a nice gentle landing.
| | 07:22 | Here's another cool thing you
can do, watch this, undo that.
| | 07:25 | Control-click here. I was playing and discovered
this. If I grab this and drag it like this,
| | 07:31 | now you can add a ping-pong effect.
Zooms out quickly, whoop! Too far and bounces back.
| | 07:38 | Isn't that cool?
| | 07:39 | It's not for everybody but it's
a kind of a neat effect as well.
| | 07:47 | So what we did is we added a Bezier control point
on either of these keyframes and we were able
| | 07:52 | to get different kinds of effects.
| | 07:54 | One more to show you. Remember this shot here
of the flower, let's just position the flower
| | 07:59 | so we can see this without moving it
because I want to show you a filter.
| | 08:03 | Select this. Effects > Gaussian Blur. Go to the
Filters tab. This has got a big line on it as well
| | 08:11 | and what I want to do is I want
to slowly, slowly blur this.
| | 08:15 | So I'm going to set a keyframe here,
set a keyframe right at the beginning
| | 08:19 | and set this to 0, and set this to about 50.
| | 08:23 | We are going to make it go way out of focus.
| | 08:25 | Now watch what happens.
See how it goes out of focus?
| | 08:29 | Now if I pull this down just a little bit and
Control-click on them and set it to Smooth,
| | 08:35 | it adds a control point on that filter.
| | 08:38 | And gives us much more of a rack focus look like
we're on a camera. Much more organic and much smoother.
| | 08:47 | This would be linear.
| | 08:53 | It's okay, but doesn't feel right.
| | 08:56 | This however is much more
like you'd get in a camera.
| | 09:01 | Quick blur and then gently settles in.
| | 09:04 | These Bezier control points can be added to
motion paths, can be added to any filter,
| | 09:09 | can be added to any setting inside the Motion
tab and the way you set them is Control-click
| | 09:14 | on a keyframe and select Smoothing, or in the
case of a motion path, Linear or Ease In/Ease Out.
| | 09:21 | Whew!
| | 09:21 | That is a lot to cover. Let me sort
of summarize it in the next movie.
| | Collapse this transcript |
| Final Cut Pro summary| 00:00 | Oh my goodness! That has covered a lot of territory.
Moving images in Final Cut Pro has got a lot to it.
| | 00:07 | If we take a look back at what we've covered, we started
by importing images into Final Cut Pro. Then we created the
| | 00:13 | audio track and built the sequence using two tracks
of images because that allowed us then to add handles,
| | 00:19 | which accommodates the need for transitions later.
| | 00:22 | Now if you're planning on cutting between these images then
you would not add handles. It's when you want to add a dissolve or
| | 00:28 | a wipe between two shots that you want to add the
handles and you want to add the handles before
| | 00:34 | you add the keyframes.
| | 00:36 | We took a side jaunt into how to adjust our
images both in the Canvas and in the Motion tab
| | 00:40 | and then we got down right to the heart of the matter, which
is how to use keyframes to add motion to our still images.
| | 00:47 | We then added the transitions
after the keyframes are complete.
| | 00:50 | And we finally
| | 00:51 | showed how to add curves and ramps to
various filters and motion effects and
| | 00:56 | changed the shape of a motion path using Bezier controls.
| | 01:00 | Now you have got a really clear idea on how
to move your images inside Final Cut Pro from
| | 01:06 | what size to what format, prepping them
in Photoshop and moving them in Final Cut.
| | 01:11 | But there's an entirely different way of
working which is to do our motion inside Motion.
| | 01:17 | But doing motion inside Motion actually starts with Final Cut.
| | 01:20 | And while it isn't as complex as Final Cut,
it has some benefits all of its own.
| | 01:25 | And we'll be talking about moving our images in Motion,
| | 01:28 | next.
| | Collapse this transcript |
|
|
4. Creating Movement in Motion 3Overview of movement in Motion| 00:00 | We've already seen how we can use Final
Cut to put motion into our still images.
| | 00:05 | But it may not surprise you if I told you that Motion can
also put motion into still images. Which is probably why they
| | 00:12 | call it Motion in the first place.
| | 00:15 | The workflow with Motion is similar. We can create the sequence
but now we have a choice, we can create the sequence in
| | 00:20 | Motion or we can create the sequence in Final Cut.
| | 00:23 | Then we add movement and here we have some significant choices.
We can add movement using behaviors or we can add movement
| | 00:30 | using keyframes.
| | 00:31 | Then, whichever of the two we choose,
we need to send the sequence back to Final Cut.
| | 00:37 | Now there are advantages and disadvantages to using Motion.
The advantages are that you don't need to use keyframes,
| | 00:44 | which is kind of a strange concept to wrap your brain around.
| | 00:47 | You have more motion effects to choose from when in Motion.
Everything can be displayed in real-time, no rendering is
| | 00:53 | necessary, and you can get your project back to Final Cut
| | 00:56 | quickly and easily.
| | 00:58 | The disadvantage to using Motion is that
you need to know how to use Motion,
| | 01:03 | at least a little. So I set myself a challenge. How can
I explain how to take advantage of the power inside Motion
| | 01:09 | without having to spend hours and hours
explaining the whole Motion program?
| | 01:14 | So here's the secret.
| | 01:15 | We're going to build our image sequence in Final Cut,
| | 01:19 | then send it over to Motion and
add the motion and send it back.
| | 01:23 | When we follow this roundtrip process, we'll discover
that it's fast, it's easy and it isn't that difficult.
| | 01:31 | So,
| | 01:32 | let's start by creating a sequence inside Final Cut. The image
prep is exactly the same because Final Cut is going to be used
| | 01:39 | for output. So all the work that we've gone through to learn
how to prepare our images, that's the same. All the work we've
| | 01:45 | gone through to learn how to build our sequence, that's the same.
All we're going to do now is pick up with the sequence being built
| | 01:52 | and show how to get it to Motion, how to add motion to it,
| | 01:56 | and how to get it back to Final Cut.
| | 01:58 | It's an extra step, but I think you'll like what it gives us.
| | 02:02 | And that
| | 02:02 | I'll show you next.
| | Collapse this transcript |
| Sending a project from Final Cut to Motion| 00:00 | Let's take everything that we have learned about
how to built an image sequence inside Final Cut
| | 00:04 | except this time we will build
the sequence inside Final Cut,
| | 00:07 | but we will get it to move inside Motion.
| | 00:10 | The benefit to this is that we get to use all of
our knowledge of Final Cut to create the timing
| | 00:15 | and place one of our clips,
and we can take advantage
| | 00:18 | of the keyframe-less behaviors
inside Motion to create the movement.
| | 00:23 | So I have created a project
called FCP-09 to Motion
| | 00:27 | and we have built a simple two-track
sequence with handles built-in,
| | 00:32 | and now the next step is to send this to motion.
| | 00:36 | The reason that we do it inside Final Cut is
| | 00:39 | because most often this still image sequence
is going to be part of a Final Cut sequence,
| | 00:42 | why not just edit everything in
Final Cut and just send the pieces
| | 00:46 | that you need to animate over to Motion?
| | 00:48 | That gives you the strength
of Final Cut for importing
| | 00:51 | and editing and timing and output or export.
| | 00:54 | And it gives you the strengths of Motion because
you only have to learn a small piece of Motion
| | 00:58 | until you become more and more comfortable and
then as you become more comfortable you could
| | 01:02 | in fact do this entire piece in Motion.
| | 01:05 | But for today let's just focus on the
interaction between those two applications,
| | 01:10 | and here's how we're going to
get our slides over to Motion.
| | 01:13 | When I select all of them, and I can either go to the
File > Send to > Motion Project menu, which works fine.
| | 01:22 | Or I can Control-click on those clips
and send them to a Motion project.
| | 01:26 | Two different ways, same result.
| | 01:28 | This automatically opens up the dialog and
I'm going to call this Images In Motion.
| | 01:37 | Notice at the bottom here,
we've got two checkboxes.
| | 01:40 | If Launch Motion is checked, it's
going to automatically start Motion
| | 01:44 | when I click the Save button and
it will take our motion project
| | 01:48 | which is what we're creating right now and save
it in place of these four clips in the timeline.
| | 01:54 | If you watch very closely,
as soon as I click Save,
| | 01:58 | these are going to be replaced
by a Motion project.
| | 02:01 | There they are, they are now a Motion project.
| | 02:03 | And that loads up inside Motion.
| | 02:06 | Now if you have never looked at a Motion
interface before, it becomes very scary
| | 02:10 | because there is nothing in common with Final Cut.
| | 02:13 | But in point of fact we don't need to know
everything there is to know about Motion.
| | 02:18 | We just need to know about two or
three keyboard shortcuts and two
| | 02:22 | or three places to click the mouse.
| | 02:24 | And I will show you those and how to
animate this first image in our next movie.
| | Collapse this transcript |
| Adding Motion Effects with Behaviors: Grow/Shrink, Fade In/Fade Out, and Throw| 00:00 | Before I show you how to work inside
Motion, I need to explain one other thing.
| | 00:05 | When we sent the file to Motion, we created
a Motion project called Images in Motion.
| | 00:10 | Because of the way round-tripping works
inside Final Cut, if you try and open this,
| | 00:13 | this is part of your exercise file,
| | 00:15 | all the animation will be complete.
Otherwise we couldn't round-trip.
| | 00:19 | So, I have created two other Motion files.
| | 00:22 | Images in Motion Start is
if you just want to start
| | 00:25 | with the images in place, but with no animation.
| | 00:28 | Images in Motion Finished is
with all the animation complete.
| | 00:32 | So this, although it starts with no
animation, must finish with animation.
| | 00:38 | So, because of that I have created this
other two, so you have got them to work with.
| | 00:42 | With that as a background, let me show you how
Motion works to create movement on still images.
| | 00:51 | When you first look at the Motion
interface, it looks pretty scary
| | 00:54 | because it looks like nothing inside Final Cut.
| | 00:57 | But really we don't need to understand
everything about the Motion interface.
| | 01:00 | We just need to understand pieces of it and
we can still achieve the results we want.
| | 01:05 | So, like the Canvas inside Motion
where we view our final output.
| | 01:09 | This area down here is the
mini timeline and notice
| | 01:12 | that we have already selected our first clip.
| | 01:15 | Clips show up as little blue
icons inside this mini timeline.
| | 01:19 | To play the mini timeline, we click the
right pointing arrow or hit the spacebar.
| | 01:24 | We can scale the image based upon this pop-up
menu or it's more convenient, if we type Shift+Z,
| | 01:31 | the image scales up to fit the available space.
| | 01:34 | Or Option+Z, the image scales to a 100%.
| | 01:38 | The duration of our sequence is controlled
from this box down here and you can toggle
| | 01:43 | between a frame count, right now
it's set to 592 frames, or time code
| | 01:48 | by simply clicking on this clock icon.
| | 01:50 | It's almost twenty seconds long and as I don't
particularly care about the length of this,
| | 01:55 | because remember we set the
length inside Final Cut,
| | 01:58 | this simply takes the length inside Final
Cut and displays it for us to play with.
| | 02:02 | This timecode box over here is the
playhead. Notice that small moving line,
| | 02:07 | this is called the playhead. Looks exactly
like the playhead inside Final Cut.
| | 02:11 | We can grab the playhead and drag it. We can
click the playhead and put it where we want
| | 02:15 | or we can click hold and drag and we can
set the playhead wherever we want it to go.
| | 02:21 | This represents the duration of our clip.
| | 02:24 | This area right up here is called the play range.
Because my total Motion project runs 20 seconds,
| | 02:30 | but each clip only runs about four
or five seconds, I don't want to have
| | 02:34 | to waste my time playing this whole area over and
over, when I just want to see this small clip.
| | 02:40 | So I put my playhead at the end of
the clip and type Option+Command+O.
| | 02:45 | This sets what's called the play range and
this is the area where the playhead will loop
| | 02:49 | as we play over and over again and that
way I don't have to waste time looking
| | 02:54 | at that which I don't want to look at.
| | 02:56 | There is one more point with
Motion, before we get started.
| | 02:59 | Inside Final Cut whenever we create an effect
most times we have to render and in all cases,
| | 03:04 | we don't have the playhead playing
when we're setting our keyframes
| | 03:07 | and making all of our adjustments in Final Cut.
| | 03:10 | But in Motion, just the opposite is true.
| | 03:12 | One of the real benefits of the Motion is that
all of our effects can be viewed in real-time
| | 03:18 | and speaking of effects there are
two types of effects inside Motion.
| | 03:22 | Their behaviors which cause things to move and
then there are filters, which change the look
| | 03:28 | of a piece of video or a still image because
we're specifically focused on moving still images,
| | 03:34 | everything we do in this movie would be a behavior
| | 03:37 | and the nice thing is the
behavior is fully animated.
| | 03:40 | So I don't have to set keyframes.
| | 03:43 | Let me illustrate. I'll click the right
pointing arrow to get things playing
| | 03:47 | and as with all things inside
Final Cut, we select the clips.
| | 03:50 | So I'm just going to click on it, to
notice I have got this bounding box,
| | 03:53 | which indicates the size of my clip.
| | 03:55 | I go up to add a behavior and the behaviors
that control a motion are not surprisingly
| | 04:01 | in the Basic Motion category and I'm going to
have this image grow, so I'm going to select Grow
| | 04:07 | or I could have it Shrink, but if I had
it Shrink, you would see black borders
| | 04:11 | around which is not what I want at all.
| | 04:14 | So, I have now set a Grow behavior and
notice absolutely nothing is growing
| | 04:21 | because we haven't told it what we want it to do.
| | 04:24 | The way that we control movement, with behaviors
is through, what's called the heads up display
| | 04:29 | or the HUD and this is our first of
just a very few keyboard shortcuts.
| | 04:34 | Press F7 and HUD appears, it's
this semi opaque or semitransparent
| | 04:41 | or gray depending upon what you want to call it.
| | 04:44 | Notice that this represents our image. If I click
out here, notice that I have told it to grow
| | 04:50 | from the size it was the inner
square to the size it's going to be.
| | 04:54 | The growing occurs over the duration of the clip.
| | 04:58 | I want it to shrink, I click inside here. I
want it to grow a lot, I would improve the zoom
| | 05:04 | and now it's really just growing like a weed.
| | 05:09 | I don't want it to zoom that much,
we will just grow it back to here.
| | 05:13 | So I have a nice gentle zoom
on the center of the flower.
| | 05:17 | Notice that I haven't set any keyframes
that's because behaviors are already animated.
| | 05:22 | So, none of this keyframes nonsense
just apply to the movement and notice
| | 05:26 | down to the mini timeline, it now
says Grow/Shrink. That shows the effect
| | 05:31 | that we have created and if I just want it
to grow for a little bit and then pause,
| | 05:36 | I could grab the Grow/Shrink behavior.
| | 05:39 | The duration of this effect
is how long it's going to grow
| | 05:43 | and notice it just grows or
shrinks and then it stops.
| | 05:46 | I want it to grow throughout
the duration of the clip.
| | 05:49 | So, I want it to just drag out to there, so
that way the movement starts at the beginning
| | 05:54 | of the shot and continues through to the end.
| | 05:58 | Well that's kind of cool,
let's try something different.
| | 06:00 | Let's tuck our HUD over here and lets
have it to a fade up at the beginning.
| | 06:05 | Well the fade up is also a behavior and it's also
in basic Motion and it's called Fade In/Fade Out.
| | 06:12 | When I select it, it gives me a
different set of icons inside the HUD.
| | 06:16 | This indicates how much is going to
be Fade Up at the top and at the end.
| | 06:21 | Well I don't want it to Fade Out at the
end, so I'm going to click Hold and drag
| | 06:25 | until there is no fade at the end and I want it
to take 30 frames to Fade In at the beginning.
| | 06:31 | So, we will just grab that edge right there and
drag it back and forth to do that just click hold
| | 06:36 | and drag and you can make it any length
you want, but it will just pick 30 frames
| | 06:41 | and now when we do, notice that I haven't
stopped my playhead, my animation has continued
| | 06:46 | and I have this beautiful Fade In to a movement
going right into the center of the flower.
| | 06:53 | This is very cool!
| | 06:54 | I haven't stopped playback, I haven't added
keyframes, I get instantaneous view back,
| | 06:59 | at full real time speeds and I
haven't had the render anything.
| | 07:04 | Now let's go on to our second image,
but how do I find my second image?
| | 07:10 | It says Fade In/Fade Out down here.
| | 07:13 | Well that's our second keyboard shortcut.
| | 07:15 | Remember the first was F7 to display the HUD.
| | 07:19 | The second is F5, which displays the Layers tab.
| | 07:25 | I'll stop the playhead here
just so I can illustrate this.
| | 07:28 | The Layers tab, like the Layers
tab inside Photoshop is a listing
| | 07:32 | of everything that we have in our sequence.
| | 07:34 | We have got this initial flower here, our
wild flower and if I click on another shot,
| | 07:40 | like Scarlet Trumpet, notice the Scarlet
Trumpet clip shows up in the mini timeline
| | 07:44 | and it's exactly set for time,
so I can see where it starts,
| | 07:48 | the beginning of the clip and where it ends.
| | 07:50 | The timing, remember was set inside the Final Cut.
| | 07:52 | If I click on over the butterfly
that's this one right here
| | 07:57 | and notice it's spaced slightly
differently in the mini timeline.
| | 08:01 | Now last is our star of the entire show,
the possum poking out from the leaves
| | 08:06 | and the possum starts here
and goes to end of the clip.
| | 08:10 | So let's go to our second
shot, to Scarlet Trumpet,
| | 08:14 | but because my play range is not set
correctly we will set our play range
| | 08:17 | by putting out playhead at the beginning.
| | 08:19 | Option+Command+I sets the play range at the top.
| | 08:22 | I could then grab the play range and drag it or
I will use Option+Command+O to set it at the end.
| | 08:27 | Now when I play over and over,
our clip so far isn't moving,
| | 08:32 | but at least we only look
at the duration of the clip.
| | 08:35 | What should we do with this?
| | 08:36 | Well first I can't see the whole image.
| | 08:38 | That's where Shift+Z comes in.
| | 08:41 | It's the exact same thing as Shift+Z inside Final
Cut, fits whatever we have in the window to fit
| | 08:46 | in the window and now we have
scaled it to back to about 71%.
| | 08:51 | It's a beautiful shot of a flower, but I
think I'm want to zoom in on it just a bit.
| | 08:57 | If I apply a behavior, the
zoom in will be animated.
| | 09:01 | I don't want to apply a behavior,
I want it to start on a tight shot.
| | 09:06 | So that means I need to change the
zoom property, the scale of the image.
| | 09:11 | In Final Cut, we do that inside the Motion tab.
| | 09:14 | In Motion we do it inside the Inspector.
| | 09:17 | Now, Final Cut doesn't have an Inspector;
| | 09:20 | the Final Cut has all these different
settings and all these different windows.
| | 09:25 | But with DVD Studio Pro and with Motion
and with Life Type and with Soundtrack all
| | 09:30 | of our changes take place
up here, in the Inspector
| | 09:34 | and when we click on it there are four tabs here.
| | 09:38 | If I have applied a behavior, the behavior
is controlled side the behavior tab.
| | 09:42 | If I have applied a filter, the filter
is controlled inside the filters tab.
| | 09:47 | The image itself has some setting inside the
image tab; this is sort of context sensitive,
| | 09:52 | it changes based upon what you click on.
| | 09:55 | But most of the time, we're going to be working
inside Properties tab at least with still images.
| | 10:00 | Notice the image is scaled to 36% normal
size, if I grab this slider and drag it
| | 10:06 | to the right, I can zoom in on my flower.
| | 10:10 | Probably more than I what do actually.
| | 10:12 | Let's zoom out just a bit and have
this nice close up somewhere, oh!
| | 10:17 | Let's zoom in a little bit
more right around in there.
| | 10:21 | This gives me a nice tight shot of the
flower and because as I want to start
| | 10:25 | on the camera right side of the petal, I go
to the position and one of the cool things
| | 10:29 | about the setting the Settings inside Motion is
you simply click in the middle of the number.
| | 10:33 | Hold the mouse down and drag
and you can reposition.
| | 10:37 | I'm going to start over here on this
edge of the flower and we're going
| | 10:42 | to have it automatically move
from there to the end.
| | 10:46 | Well let's get our playhead playing because
we want watch all this stuff in real time
| | 10:50 | and because it's movement
we're going to apply a behavior
| | 10:53 | and we're going to go down to Basic Motion.
| | 10:57 | Now here it's a little bit of weird
word, we're going to throw the picture.
| | 11:01 | Can you just imagine sort of
taking a piece of flat art
| | 11:04 | and throwing? It's not going to go very far.
| | 11:05 | But in Motion it will go forever.
| | 11:07 | We select Throw and the Throw behavior says if
I click over here, the flower is going to move
| | 11:12 | to the left. It moves in the
opposite direction to the arrow.
| | 11:15 | We are throwing the image to the right and it's
moving to left; if I throw it to the left it moves
| | 11:19 | to the right If I throw it up it moves
down; if I throw if down it moves up.
| | 11:23 | This is just exact the same as running a camera.
| | 11:26 | You always pan in the opposite direction
you want it want your talent to move
| | 11:29 | and if you hold the Shift key down, it
constraints movement of 45 degree angles.
| | 11:34 | The faster you want it to move,
the bigger you make the arrow.
| | 11:37 | Small moves small arrow; big moves big arrow.
| | 11:41 | Now that we have got that as an orientation, lets
just have a nice slow steady move and have it
| | 11:47 | so it sort of reveals the center of the flower.
| | 11:52 | Let's try that and it pans over right into - oops!
| | 11:55 | I need little bit more of the flower here.
| | 11:58 | There we go and it's just merged them.
| | 12:04 | There we're, so now we have just added a zoom
to give us a nice move across the flower right
| | 12:10 | into the very center, pickup that beautiful
yellow color. And now how do we add a dissolve?
| | 12:15 | Same way we did before. We go up to
Behavior. Notice I haven't stopped playback,
| | 12:19 | go to Basic Motion > Fade In/Fade Out and
here I want this to dissolve 30 frames in
| | 12:27 | and do a dissolve of 30 frames at the end
and let's see what we end up with here.
| | 12:32 | Notice, the dissolve is real-time; I haven't had
| | 12:34 | to render anything. We have got our opening
dissolved, it dissolves in, it pans over,
| | 12:40 | it dissolves out. Isn't that cool?
| | 12:42 | Look at that! The first two shots, no keyframes.
No small children were harmed in the making
| | 12:46 | of this picture, it works great.
We have animated the first two images
| | 12:50 | and I'll stop this movie here, so you get
a chance to think about what we have done.
| | 12:54 | Make a point to save your work
because we're going to come right back
| | 12:58 | to this exact same project, in the next movie.
| | Collapse this transcript |
| Adding Motion Effects with Behaviors: Spin, Motion Path, and Fade Out| 00:01 | We have animated the first two images,
now let's animate the last two.
| | 00:04 | Remember that we need to work with the Images
in Motion project because that's the file name
| | 00:10 | that Final Cut is looking for when we need
to update the master file back in Final Cut.
| | 00:14 | So we will just start with Images in Motion and
take a look at what we can do to the third image.
| | 00:20 | Well we're half done, let's
what else we can do here.
| | 00:23 | Let's click on our number three
shot and that's our butterfly shot.
| | 00:26 | There it shows up in the mini timeline.
| | 00:28 | We'll say Option+Command+I to set it in and we
will move to the Option+Command+O to set it out.
| | 00:35 | And we have already selected it because
remember: select something, do something to it.
| | 00:39 | That's our interface rule.
| | 00:41 | What do we want to do with this butterfly?
| | 00:43 | What we want to do is we want to rotate around it
so let's play our playhead and we have got it set,
| | 00:49 | so it just goes around that slide.
| | 00:51 | Drag that out just a bit.
| | 00:52 | Go to the Behaviors because remember all
of our movement comes from the behavior.
| | 00:57 | Go to basic motion, spin.
| | 01:02 | The HUD is where we make changes and we grab
this outer ring and just drag a little bit
| | 01:08 | to get a nice, gentle spin going around the
edge of the butterfly, except we have a problem
| | 01:14 | and the problem is as soon as we start to
spin that butterfly, we shoot off the edges
| | 01:19 | of the picture, this is a big problem.
| | 01:22 | So what we're going to do is we're
going to just continue to let
| | 01:25 | that spin and where do we make changes?
| | 01:28 | In the Inspector in Properties.
| | 01:30 | I'm going to change the scale and zoom in,
until I don't see off the edge of the shot.
| | 01:38 | Just keep watching, it's going to take
about 50% size here I think to get it,
| | 01:42 | so we don't see any back edges as it turns.
| | 01:46 | Now we have a second problem, we discovered this
inside Final Cut, by definition objects rotate
| | 01:52 | around their anchor point and the anchor
point is set on the wing of our butterfly,
| | 01:57 | I don't want it to rotate around the wing of the
butterfly, I want it to rotate around the body
| | 02:02 | of the butterfly, so we have to our anchor point.
| | 02:05 | To do that requires an unusual tool, we will go
up to the toll bar up here and most of the time,
| | 02:10 | we want to make sure that this selection tool
that they call the Transform tool is selected,
| | 02:15 | but in this case we want the Anchor
Point tool, it's the second one down,
| | 02:18 | right here and when you select the
Anchor Point tool, the Anchor Point tool,
| | 02:22 | lights up with this red, green
and blue arrow in a white circle.
| | 02:25 | I want you to grab the white circle
and drag the Anchor Point to the part
| | 02:31 | of the animal that you want to rotate around.
| | 02:33 | We will rotate with the shoulders right there.
| | 02:35 | Now we're going to have to adjust our
position just a bit because we're going
| | 02:40 | to see some black come in here, so we
will just drag our butterfly down a bit
| | 02:46 | and increase the scale because we
have played with the anchor point.
| | 02:51 | We will just pull it back
here, some artistic license.
| | 02:56 | Now let's take a look at it, we have got
a nice gentle curve going on the butterfly
| | 03:05 | and we moved this out of the
way, select our butterfly.
| | 03:10 | Now look at that very cool.
| | 03:12 | So we now have three shots, we have our initial
wild flower shot with a Fade Up and zoom in.
| | 03:19 | Our second shot which is the scarlet trumpet with
the pan along, that was a throw our third short
| | 03:25 | which is the butterfly, that's the
spin with a change in the anchor point
| | 03:30 | and all we have left is our possum, well
let's find our possum by selecting it.
| | 03:35 | Now do we want to do here, I think
we have got a great ending shot
| | 03:39 | by having him sort of appear in the frame.
| | 03:42 | So we will start tight over
here and do a pan across,
| | 03:46 | but I need to have an end at a certain point.
| | 03:49 | The nice thing about a throw is it
creates movement, but it doesn't allow me
| | 03:53 | to control where that movement stops.
| | 03:55 | Spin creates movement, but doesn't
allow me to control necessarily exactly.
| | 04:00 | I want to add something different.
| | 04:02 | We are going to add a new behavior called a
motion path, but before we add the motion path,
| | 04:07 | let's get our little possum here
squared away, so we have selected it.
| | 04:10 | We go to the inspector, Properties
tab and zoom in.
| | 04:14 | We will just click hold and drag and I will grab
the image and position it so it's my final shot.
| | 04:20 | I want the possum that's a bit too tight, it's
backup just up right there and way off center
| | 04:25 | so it looks like he just sort of
peaking his head right into the frame.
| | 04:29 | So that's where we're going to end up.
| | 04:31 | Cool, now how are we going to start this
as always, we get our playhead playing.
| | 04:36 | We select our image, we go to Add
Behavior > Basic Motion > Motion Path
| | 04:42 | and notice it has got a red
line that represents our move.
| | 04:45 | We need to make this smaller
so it will change our scale,
| | 04:48 | so we can see what the heck is
going on, make it really small.
| | 04:52 | Those two red dots, this one
indicates the starting point.
| | 04:56 | That one indicates the ending point.
| | 04:58 | First thing is I wanted to go in the
opposite direction, so I go to the HUD.
| | 05:02 | The HUD is where we make most of our changes.
| | 05:04 | Go to the HUD and change it to reverse
and now we have it panning in.
| | 05:09 | Second thing I need to do is I need to
adjust, I'm going to set our starting point
| | 05:13 | by putting my playhead right at the beginning
of the Motion tab and drag the picture
| | 05:18 | over right here and I grab this one and drag it.
| | 05:22 | So it starts in the frame right there.
| | 05:26 | Then I'm going to adjust our ending
point, I wanted to end right about there.
| | 05:32 | Now remember the duration of the effect is
based up on the duration of what's down here.
| | 05:37 | If I want the motion path to end so we can
freeze on our little possum friend there,
| | 05:43 | I want to change the duration of the effect.
| | 05:46 | The shorter the effect, the faster it goes.
| | 05:48 | The longer the effect the slower it takes.
| | 05:50 | If I will grab my ending point and just drag that
back so we see here how that starts and stops.
| | 05:58 | The other thing we can do,
is we can also set the speed,
| | 06:02 | it's kind of hard to see I will
move it down so you can see it.
| | 06:04 | Constant means, it's going
to start and end and playback
| | 06:08 | at a constant speed, Ease In means it starts slow.
| | 06:12 | Ease Out means it ends slow; Ease Both
means it starts slow and ends slow.
| | 06:17 | We will do that one and now when we
play this let's see what happens.
| | 06:21 | It ends on a freeze frame
because our effect stops there.
| | 06:24 | It's nice and easy pans and look at that.
| | 06:29 | Oops!
| | 06:29 | Complete error on my part, look at that I got
so carried away that I was not paying attention,
| | 06:35 | that's where we end, this is where
we start, grab the right keyframe.
| | 06:39 | I will try that again, play it again.
| | 06:42 | Yes, look at our cute little friend sneaking.
| | 06:45 | That's about as close as I ever want to get to a
possum, but he is definitely cute form this angle.
| | 06:50 | So let's play the whole thing.
| | 06:52 | We could get rid of this by the way.
| | 06:54 | With player range we will just drag that to the
beginning and we will set this to Shift+Z, F5.
| | 07:00 | F5 toggles that Layers tab on and off.
| | 07:03 | Hit the Home key on our keyboard
and we will hide the HUD,
| | 07:08 | F7 applies and hides the HUD
and we now hit the spacebar.
| | 07:14 | Deselect the motion path by going
to F5 and clicking anywhere.
| | 07:19 | If you click on a gray area, it deselects stuff.
| | 07:22 | Home key to restart. I don't want
to ruin the dramatic moment here.
| | 07:26 | And F5 to hide the Layers tab. Back to the
beginning, click the Play button, here we go.
| | 07:34 | Nice fade up, nice zoom in, dissolved to
a tight shot as we just do this great pan
| | 07:41 | across the flower to a slowly
rotating butterfly, to our pan across
| | 07:47 | to our possum, except the pan is too slow.
| | 07:50 | So F5, and we select the possum.
Cue the possum, right there.
| | 07:55 | Select Motion, wake up the HUD,
F7, and say not a good idea.
| | 08:00 | Let's just have it do an Ease Out,
let's have it start nice and quick.
| | 08:03 | So we'll pick it up here, play it.
| | 08:06 | Nice curve. Our possum starts much faster.
| | 08:09 | The one thing that we still have left to do
is to select our possum and add a Fade In.
| | 08:14 | Basic Motion > Fade In, I want it to fade in for
30-- Because remember we checkerboarded our images.
| | 08:21 | I don't have to add the fade on both, I just
have to add the fades on the ones that are on V2,
| | 08:27 | Fade in, cue the possum, holds and fades out.
| | 08:32 | One last thing to show you, I realized
I skipped over this at the beginning.
| | 08:36 | Inside Motion, when you open up
the Layers tab for the first time,
| | 08:40 | see where it says group one?
| | 08:42 | These were all the shots that
were on track one. See group two?
| | 08:45 | These are all the shots that are
on Track V2 inside Final Cut.
| | 08:49 | So all the shots that are on the single
track are put into a single folder
| | 08:53 | and that just makes it easier to find where the
shots are and that's why I knew that I don't need
| | 08:57 | to apply my fades to anything on V1, the
fades only need to go to the clips on V2
| | 09:02 | and there is the Fade In effect right there.
| | 09:05 | There is the fade in effect on the possum.
| | 09:07 | We can see that better by just
opening this up like this.
| | 09:11 | Very cool. Except how do we get it back to
Final Cut? Well this is enough for one movie.
| | 09:18 | In the next movie I will show
you how we get it out of Motion
| | 09:21 | and into Final Cut, but I will give you a tip.
| | 09:25 | Don't blink because it happens really fast.
| | Collapse this transcript |
| Outputting Motion back to Final Cut| 00:00 | We have animated our images and now we
need to get them from Motion to Final Cut,
| | 00:04 | and this is where the magic starts. Because if
you send the file to Motion all you have to do
| | 00:11 | to get it back to Final Cut is to save it.
| | 00:15 | You send from Final Cut and you
save from Motion. And that's it.
| | 00:20 | What happens is, when we go to Final Cut,
Final Cut automatically looks for that Images
| | 00:25 | in Motion project file, loads it in,
and now if I do Option+P to play it,
| | 00:30 | there is my fully animated stills.
| | 00:33 | All we have left just to render and we know that
because we have got the red Render Bar over here,
| | 00:38 | and the region we want to
render inside Final Cut is
| | 00:41 | that Motion always saves at
the highest possible quality.
| | 00:45 | It doesn't actually get converted to video until
Final Cut decides, "Well, I'm going to render
| | 00:48 | for a DV Projector, Digi-Beta
Projector, HD Projector."
| | 00:53 | So to render this, you select the
clip, go to Render Selection > Both,
| | 00:56 | and after just a few seconds...
| | 01:03 | it's rendered and let's hit the
Home key and watch what happens.
| | 01:06 | (Music plays during slide presentation.)
| | 01:27 | And look at that. All without setting a single keyframe,
| | 01:30 | Behaviors did it all inside Motion.
| | 01:33 | So we built our project inside Final Cut.
| | 01:36 | We selected the clips and we sent them to Motion.
| | 01:39 | When we set them to Motion, we then animated
and we went File > Save to bring them back.
| | 01:45 | By the way if you ever need
to get a Motion project turned
| | 01:48 | into video then you would export it,
and in exporting you would set what kind
| | 01:52 | of QuickTime movie and what kind of codec
and there it gets turned into a video file
| | 01:57 | that you could then pull to a PC or put into a
different editing package, but when you're going
| | 02:01 | to Final Cut all you need to do is File > Save.
| | 02:05 | There are two other things that I want to stress.
| | 02:07 | The first is, the name of the project must be
the same name that you sent from Final Cut.
| | 02:14 | So when you sent from Final Cut and call that
Images in Motion then the project that goes back
| | 02:19 | to Final Cut must also be called Images in Motion.
| | 02:25 | The second point is that inside Final Cut
as long as we have got this project here,
| | 02:30 | I can save my Final Cut project, I can quit
Final Cut, I can shut down my computer.
| | 02:36 | I can come back the next day or the next week and
when Final Cut opens up it's going to look for
| | 02:40 | and link to that Motion project, which
means I don't have to keep Final Cut running
| | 02:45 | when I'm doing this image manipulation, and
if it takes me a couple of days in Motion
| | 02:49 | to make it perfect because I've
got a lot of different images,
| | 02:51 | so be it as long as I save the file in Motion.
| | 02:55 | Final Cut will link to it, it doesn't
have to stay open the whole time.
| | 02:58 | We have taken a project from beginning
to end, from the creation of the images
| | 03:03 | and processing them and making them move inside
Motion and we did not use a single keyframe,
| | 03:08 | we used Behaviors which are pre-built movements,
but we can use keyframes, and I will show you how
| | 03:14 | to create and use keyframes
in Motion in our next movie.
| | Collapse this transcript |
| Using keyframes in Motion| 00:00 | In the last exercise we created
movement using behaviors.
| | 00:04 | In this exercise we create
movement using keyframes,
| | 00:07 | and in point of fact you can actually
create movement using behaviors
| | 00:11 | and keyframes in the same project.
| | 00:13 | But just to keep things organized and simple we'll
just create keyframes in this particular exercise.
| | 00:19 | I have opened a project from the Exercise Files
called Keyframes in Motion and if you look,
| | 00:24 | notice that I have removed all
the effects that we have here.
| | 00:27 | So we just have our slides placed for time.
| | 00:30 | It opens up our little project that we have been
working on except I have taken all the movement
| | 00:35 | out of the slides, so all
the behaviors I have removed.
| | 00:38 | You can tell that for a fact by hitting the
F5 Key and notice that there are no behaviors
| | 00:42 | in here. We just have our standard slides.
| | 00:44 | Now let's select this first slide.
| | 00:46 | Let's say that what we want to
do is we want to animate it,
| | 00:49 | but we want to have it zoom
to a very specific spot.
| | 00:53 | Well, just hit the F5 Key, and I want
to have it hold for about all 20 frames,
| | 00:59 | and notice down here, this indicates
the position of the playhead
| | 01:02 | where this time code indicates
the duration of my scene.
| | 01:06 | I can click, hold and drag to
move the playhead back and forth.
| | 01:09 | Okay, I want to hold for 20 frames, and then
starting 20 frames in I want it to move.
| | 01:14 | I want it to start full-screen and then I
want it to zoom so it goes right into here.
| | 01:19 | And because I want to precisely
control when it starts
| | 01:23 | and where it goes I'm going to use keyframes.
| | 01:27 | If you need precision, keyframes are necessary,
but most of the time you just need movement
| | 01:33 | and their behaviors are much faster and
much easier and much easier to tweak.
| | 01:40 | So, how do we adjust keyframes?
| | 01:42 | Well, we always make changes inside the Inspector.
| | 01:47 | So are we going to be changing a behavior?
| | 01:49 | No, because there are no behaviors applied.
| | 01:50 | Are we going to be changing a filter?
| | 01:52 | Why?
| | 01:53 | No again, because there are no filters applied.
| | 01:55 | Are we going to change the image?
| | 01:57 | Well, we could, that's one possible
option except there is nothing there
| | 02:00 | that indicates anything about scaling or position.
| | 02:03 | So by process of elimination we're with the
Properties tab and look at what we've got.
| | 02:09 | We've got Position and Rotation, all
the standard properties that were used
| | 02:13 | to inside the Properties tab of Final Cut.
| | 02:15 | Well, how do we add a keyframe?
| | 02:17 | The easiest way to add a keyframe is
to click on this hyphen right here,
| | 02:21 | and because I want to set
keyframes for scale, I click on it,
| | 02:25 | don't Control-click, just
click and say Add Keyframe.
| | 02:28 | Notice there is a solid diamond there,
and because I want the position to change
| | 02:32 | as well I add a keyframe there too.
| | 02:36 | Now one of the things that we have to do to
set the keyframe to put parameters in it,
| | 02:41 | so we've got to do what's
called jiggling the object.
| | 02:43 | So I'm going to just change this a
little bit, and now what that's done,
| | 02:47 | is it's now recorded a keyframe for
position, and I jiggle the object here
| | 02:52 | and that records a keyframe for scale.
| | 02:55 | You can prove that's true to yourself by opening
up a pane down here called the Keyframe Editor.
| | 03:01 | The keyboard shortcut is F6,
toggles it on and off.
| | 03:05 | And notice I have got keyframes set
here for Position and for Scale.
| | 03:10 | Now, let's move farther forward say to
about there, I'm just inventing a spot.
| | 03:15 | I'm not after artistry at this point,
I'm just showing you the technique.
| | 03:19 | And notice that my playhead has jumped down here.
| | 03:21 | So the next step that I have to do is once I
have got my playhead at the spot that I want
| | 03:26 | to add a keyframe, I click on that
hyphen again, I say add another keyframe.
| | 03:30 | And because I want both the Position and the
Scale to change I have to add a Keyframe.
| | 03:36 | This is different from Final Cut.
| | 03:38 | In Final Cut once you've got a keyframe set,
it will automatically add keyframes thereafter.
| | 03:42 | Here, we have to explicitly add the keyframe.
| | 03:46 | So now that we have got the
keyframe added let's scale this up.
| | 03:50 | And notice that in the Keyframe Editor
we're seeing the keyframes are changing
| | 03:55 | as we move this and zoom it in.
| | 03:57 | And then let's change the Position by grabbing
and click-hold and dragging and that allows us --
| | 04:04 | notice I'm dragging right where the number is,
I can drag my position where I want it to be,
| | 04:10 | and drag this up just a bit more, get
a nice dramatic close up, right there.
| | 04:16 | Now let's play our shot.
| | 04:18 | Stays still for 20 frames,
zooms in at my keyframe,
| | 04:22 | stops at my keyframe, and goes to the next shot.
| | 04:25 | Okay, cool, but let's say we
want to adjust those keyframes.
| | 04:29 | Several things we can do in Motion
that we can't do inside Final Cut.
| | 04:34 | To move between keyframes you put your
playhead here and type Option+K for keyframe.
| | 04:39 | That takes you to the earlier keyframe or
Shift+K takes you to the later keyframe.
| | 04:43 | Option+K or Shift+K.
| | 04:46 | I want to go to the later keyframe, and
this time I want to Control-click on it.
| | 04:51 | And when I Control-click on it this
allows me to adjust size with my keyframe
| | 04:55 | so I can see all of them at one time.
| | 04:58 | When I Control-click on it, a menu choice
opens up that doesn't exist in Final Cut.
| | 05:04 | Linear means that we're smoothly going to
move from the first keyframe to the second.
| | 05:09 | Bezier means it's going to have a curve
attached to it, see the Bezier Control point.
| | 05:15 | I Control-click on it again.
| | 05:16 | Interpolation > Ease In. Ease Out means it will
slowly start, but quickly end or slowly end
| | 05:25 | or exponentially change or logarithmically change.
| | 05:28 | In other words you can have this do whatever
you want in terms of landing and taking off.
| | 05:34 | I want to have it doing Ease In/Ease out.
| | 05:36 | When I play it, it goes quickly, slows down
and eases in to that final resting place.
| | 05:43 | All we can do inside Final Cut
is Ease In/Ease Out and Linear,
| | 05:47 | all the rest of the choices don't exist.
| | 05:49 | In Motion we have got almost ten different
ways of interpolating, how we're going to get
| | 05:53 | from Keyframe 1 from Keyframe 2, and we don't
always have to use keyframes if we can get away
| | 05:58 | with a Behavior, use a Behavior on some
shots and some keyframes on other shots.
| | 06:03 | The whole idea is that Motion gives
you more control over the movement
| | 06:07 | of your images in some cases than Final Cut.
| | 06:10 | In some cases Final Cut gives you more control
because you're already in Final Cut and using it.
| | 06:14 | You've now got choices and the
whole purpose of this training is
| | 06:18 | to help explain what those choices
are and show you how to use them.
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